Heinz Emigholz

Quote:
Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.Read More »

Carl is having trouble writing. As the film progresses, his novelistic character develops into a real person who intervenes in his life with increasing menace. The lector Roy supports Carl but is marked by a severe illness. To escape his difficulties, Carl accompanies Jon and Liza on an architectural journey. Bela and Fred remain behind with Roy and are confronted with his approaching death. For his friends, his death becomes the motive to reconstruct their life spent together.Read More »

An archaeologist and a weapons designer, who knew each other in a previous life as a filmmaker and a psychoanalyst, meet at an excavation site in the Negev desert and begin a conversation about love and war.Read More »

The films of pre-eminent documentary filmmaker Heinz Emigholz present the most important architects of the 20th century not through explanation or biography, but by using the camera to reveal the structures that define their art. From Bruce Goff’s churches to Gabriele D’Annunzio’s villas to Robert Maillart’s bridges, each exploratory and contemplative film is dedicated to the work of a single architect; taken together, the series shows us some of the most beautiful buildings of our time.Read More »

I am concerned with the cinematic recreation of the immediate experience of spaces, with the most accurate possible portrait of these spaces and its details in cinema.
Heinz EmigholzRead More »

Quote:
Jedes Jahrzehnt hat seinen eigenen Zugang zum Himmel.

Clonetown, 1974 bis 1979, die Chronik eines Abschieds. Charon, ein abgesprungener Terrorist, sitzt am Ufer zur Vergessenheit und kommentiert die bevorstehende Vermoderung eines entführten Autohändlers. In seiner Erinnerung ziehen seine zweiten und dritten Ichs herauf, der megalomanische Künstler und der perverse Teppichhändler. Die ehedem achtlos mißhandelten Dinge rächen sich in seinem Kopf.Read More »

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Heinz Emigholz, the premiere purveyor of architectural oddities (Sullivan’s Bridges, Goff in the Desert), meticulously documents 15 rooms of the enormous Villa Cargnacco in Lombardy, Italy, designed by proto-fascist poet Gabriele D’Annunzio (1863-1938). The controversial figure spent 17 years designing the Vittoriale, a state museum on Lake Garda, and furnishing the Villa Cargnacco, which is part of the grand complex. This unusual documentary resulted from a photography session in the villa, when four friends–cinematographers Irene von Alberti, Elfi Mikesch, Klaus Wyborny and Heinz Emigholz–simultaneously filmed the rooms and furnishings of the villa in their own specific styles.Read More »

Over a span of five years, a wing of the Kunstahlle Mannheim is torn down and rebuilt.Read More »

About the film:
Imagine an airspace into which a bomb has been dropped. The bomb has not reached the site of its detonation, but there is no way to stop its speedy approach. The time between the bomb’s release and its explosion is neither the future (for the ineluctable destruction has not yet happened) nor the past (which is unavoidably about to be extinguished). The flight time of the bomb thus describes absolute nothingness, the zero hour, consisting of all the possibilities that in just a moment will no longer exist. Thus, this story will end before it has begun; here it is told in defiance: an architectural journey from Berlin through Arromanches, Rome, Wrocław, Görlitz, Paris, Bologna, Madrid, Buenos Aires, Atlántida, Montevideo, Mexico City, Brasilia, Tokyo, Saipan, Tinian, Tokyo, San Francisco, Dallas, Binz and Mexico City back to Berlin – into the abyss.Read More »