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The latest film by Hartmut Bitomsky is, just like much of his early work, a original film essay about film and film history. Just as in earlier films, he makes inventive use of the potential offered by the medium video to analyse films.The history of the UFA is the story of a risky financial venture in the twenties and a propaganda instrument in the thirties. Bitomsky’s approach stands out because he involvesthis social and political context in investigating and dissecting films. Read More »

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However a VW is put together, what comes out is always the Federal Republic of Germany.

The VW factory is a museum of industrial technology, and at the same time it is its Utopia. The old factory buildings convey the impression of almost like being in a cathedral. In order to communicate with the crane operators high above, the workers beat on the steel griders with heavy hammers. The new buildings, however, are much lower – like in a complex of new apartments, in which you can touch the ceilings with your hands. While going around inside the buildings, you can follow the creation of an automobile and at the same time bid farewell to the industrial age. Read More »

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“Les œuvres de Lena Vandrey qui se trouvent au Musée d’Art Brut de Lausanne, acquises par Dubuffet, sont des effigies de femmes, des sortes de déesses, d’amazones, des personnages totémiques d’une grande force d’expression. Elles sont faites de matières très brutes. Ce n’est pas de la peinture illusionniste. Il y a une tension dramatique qui détruit le système de représentation pour créer un contact beaucoup plus charnel avec l’objet” (Michel Thévoz). Read More »

A documentary about the early beginning of the deconstructivist era of the architecture flourishing in the 80´ties.
Interviews with Zaha Hadid, Peter Eisenman, Bernard Tschumi, Frank Gehry, Daniel Liebeskind, Derrida, Micheal Sorkin and more. Read More »

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Boaz Yakin’s astounding debut feature looks at the violent world of the projects through the eyes of a 12-year-old drug runner. Sean Nelson delivers a quiet but intense performance as Michael–street name Fresh–a cynical but introspective kid grown up fast and hard on the killing streets of the projects. Samuel L. Jackson costars as Fresh’s estranged father, a speed chess hustler in the city park whose dispassionate philosophy–the chess board as life–becomes the film’s central metaphor, as Fresh plots a brilliant, coldly brutal plan to save himself and his junkie sister from his world of drug dealers and street violence. Read More »

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Gallivant is a fantastic British road movie and Andrew Kotting deserves to take his place with those two other great film iconoclasts and chroniclers of late twentieth century life in Britain: Derek Jarman and Patrick Keiller. He is also a great stylist and humourist, which makes the film very accessible despite it’s restless experimentation and disregard for documentary conventions. Read More »

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Even though Pedro Almodóvar was a major creative force in blowing away the severity of the Franco years, his films – like “Women on the Verge of a Nervous Breakdown” – still caused shock-horror in the Spanish heartland. “Second Skin”, though by another director (Gerardo Vera), will almost certainly do likewise. Like Almodóvar, Gerardo Vera kicks aside the Catholic certainties of conservative Spain as he delineates the instability of a marriage, specifically caused by a husband who is torn between his wife and another man. Read More »