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45 minutes of film only about an accordion - isn't that a bit boring?
No, we shot this film for almost 2 weeks and discovered something new every day. Nothing boring at all. This is due to the instrument itself, its aura, its breath, its unbelievable acoustic richness. An accordion was completely dismantled before our eyes – the complex mechanical apparatus which gives rise to such sounds discredits people who view the accordion as a mere popular instrument.
And is also due, of course, to the accordionist himself: Teodoro Anzellotti is simply the best, most virtuoso, advanced accordionist alive today. Which is not to say that he is satisfied with himself. It is the range of his knowledge and his ambition which, to be quite honest, has taken the accordion out of the stale, claustrophobic club atmosphere and the tango corner and made it what it is today: a mature, very flexible and sensitive solo concert instrument for primarily contemporary music for which more new literature has been composed recently than for any other instrument by far. It was highly overdue to make a film about it: About Anzellotti and about his accordion.
And why did you shot the film in Italy? After all, Anzellotti lives near Freiburg in Southern Germany!
Very simple: On the one hand because Anzellotti is of Italian birth and knows many people there, is among friends, so to speak, which gives the film a very warm atmosphere. There is much laughter, many jokes are made, and although it rained almost constantly throughout the shoot, one simply feels this special light which distinguishes Italy from all other countries.
On the other hand, Italy has the most beautiful theatres in the world, and we were able to record the concerts for the film in some of them. No photographer and no film maker would voluntarily pass up the chance to shoot in these marvellous locations, where this music blossoms out with an ease which is far from the bone-dry or better “beer-serious” (to coin a German phrase) attitude with which New Music is performed in Germany at the moment. We found our locations in Macerata, which has a "two-thirds-Scala" and in Panicale near Perugia, in a mini-Scala for no more than 100 spectators. I have never seen something like it.
We were striving for a film -- this may well be a typically German quality -- , that starts at the beginning, keeps going to the end and then stops but which nevertheless has a certain charm, allowing people to laugh and at the same time see that others can laugh about themselves. And this despite the fact that the film actually deals with contemporary music for the accordion. Piazzola, Globokar, Sciarrino, Berio and Satie - serious contemporary music, music that many people claim sounds terrible and cannot be understood. Not that one needs to understand everything when listening to this music. What has to be understood is imparted in a cheerful, natural way. The composers who took part in the film have helped us very much - and Teodoro Anzellotti himself, of course, who tells us that he was obsessed by his instrument from early childhood. These are human constellations which one cannot necessarily plan, they either happen or they don't, which is why this film is a documentary.
We have been pretty lucky this time, managed to meet the right people at the right time. This is not my first film on contemporary music; I know what I am talking about when I say that we have never had so much luck as this time. And in the end one will realise that this music doesn't sound so terrible after all. It is something quite natural to compose music like this for this instrument, and the worlds revealed to us through this instrument are completely wonderful.
The film is called: The Art of Seduction. Where does this title come from?
Actually, this question has already been answered .The first time I met Teodoro Anzellotti was at a concert in Berlin. I was astonished that only one musician, alone on stage, can unfold such gigantic rooms, rooms that are even bigger than those our eyes can see. And all this with a relatively small instrument. It was actually Teodoro Anzellotti who seduced me to want to crawl inside the instrument, into the innermost part of it, the place where the sounds evolve and into the inside of the sounds. This is why the film experiments with different rooms: large rooms which, related to the music, suddenly appear out of nothing and then disappear again. The idea is to perceive different states by totally devoting myself to music when listening to it. This is the art of Teodoro Anzellotti and also the topic of this film. And it is my homage to him, and my hope, that this experience can be conveyed to a larger audience.
"A brave, unflinching and willingly unpopular and unsavory film showing the most brutal face, and the muscle, of Putin-era Russia, cavorting on a summer beach. " Leas-OCP Giúiré Joris Ivens, IFDA 2006.
Chuile mhaidin le 25 bliain anuas bíonn an grianghrafadóir oidhreachtúil trá Eugeniy agus camall s'aige ar a mbealach dá ngnáthláthair oibre - trá ar chladach na Mara Duibhe, domhan daoine lomnochta. Daoine NOCHTA, le bheith cruinn faoi, san uile bhrí atá ag an fhocal - ainmniúil agus fáthchiallach. Léiríonn an scannán raidhse carachtar a thugann cruth do phortráid shainiúil den domhan daonna a maireann muid ann. Tugtar cur síos ar idir íoróin agus dúbhrón, ghlantacht agus ghanntanas, scéalta grá agus fill, bheatha agus bhás, le linn a bhforbartha. Le ceithre bliain anuas bhí Vitaly Mansky i mbun taifeadta ar "Broadway. Black Sea" ar an trá chéanna. Anois casfar roinnt laochra ón scannán seo roimhe sin "Wild, Wild Beach" arís.
Der Ort: Hamburg, Stadtrand, eine Wohnung, zwei Zimmer, Küche, Bad. Die Zeit: Ein Tag und die vergehende Nacht.
Wolfgang „Wolli“ Köhler, ehemaliger Pornokinobesitzer und Bordellier, heute Dichter und Zeichner, lebt hier mit seiner Frau Linda. Szenen eines Zusammenlebens. Erzählungen aus einem Leben, das von Waldheim /Sachsen nach Hamburg St. Pauli führte. Erfahrungen über die abgründigen Tücken des Sexgeschäftes im Halbdunkel der Kontakthöfe aus den Zeiten vor Aids.
Vorurteile werden unterlaufen. Gängige Erwartungen lösen sich nicht ein. Wolli hat seinen eigenen „Garten der Erinnerungen“, in dem er spazieren geht.
"VOODOO RHYTHM - The Gospel Of Primitive Rock 'n' Roll" is the portrait of legendary primitive Rock 'n' Roll record label VOODOO RHYTHM RECORDS, its founder the inconoclastic Reverend Beat-Man and several bands on the label.
The film features in depth interviews, live gigs and private home concerts of the following artists:
Rev. Beat-Man, The Dead Brothers, The Monsters, King Khan, DM Bob, The Whatzloves, Zeno Tornado & The Boney Google Brothers, The Come 'n Go, Dink Winkerton and a special appearance by The Velvet Hammer Burlesque.
The film is filled with the finest raw primitive rock 'n' roll, blues trash, cajun swamp blues, garage fuzz massacre, xxxbluegrass, voodoo soul, one-man band country gospel and of course the finest funeral music this side of New Orleans.
"Voodoo Rhythm - The Gospel Of Primitive Rock 'n' Roll" is more than merely a film about raw music, it's the protrait of a way of life that stands in stark contrast to an over-processed and assimilated age of facts and figures.
""I wanna fuck you baby...that's a good song...and on one chord...it's a hit song...it don't sell shit but it's a good song!""
REVEREND BEAT-MAN 2005"
Die älteste Tochter des deutschen Großindustriellen Hugo Stinnes, begann nach dem Tod ihres Vaters 1924 eine Rennfahrer-Karriere. Sie wurde die erfolgreichste Rennfahrerin Europas und gewann eine Rallye quer durch Rußland. Das brachte sie auf die Idee einer Autofahrt rund um den Erdball - eine Expedition, die bis dahin noch niemand gewagt hatte. Einen schwedischen Kameramann nahm sie mit: Carl-Axel Söderström, den sie nach der langen Reise heiratete. Eine einzige Kopie ihres Films "Im Auto durch zwei Welten" blieb erhalten. 1979 hörte ich von der nahezu vergessenen Expedition und traf Clärenore in Hamburg. Die Kopie brachte sie in einer Reisetasche mit, wir retteten den alten Nitrofilm. Sie kommentierte ihn noch einmal neu für unsere gemeinsame Dokumentation "Die Frau, die um die Welt fuhr". Daraus zeige ich Ausschnitte - zusammen mit einem langen Kamera-Interview, das Clärenore wenige Jahre vor ihrem Tod uns gab.
The story is about two immigrant women; Yurdanur and Malvina. Malvina's parents exchanged from Alacati, Izmir and settled on land of exchanged Turks in Heraklion-Crete. And Yurdanur's parents exchanged from Heraklion-Crete and settled on land of exchanged Greek in Izmir.
Yurdanur is in her 60's and she belongs to the second generation of a Cretan exchanged family. In all spheres of her life there lies the evidence of a Cretan culture. For instance, she mainly cooks Cretan dishes. If she is in a happy mood, she still sings Cretan songs in Greek.And she attends to the club of Cretans. They are talking about their native land in Cretan which is not visited so far.
Malvina is same ages and her family was exchanged from Izmir (Smyrna)-Alacati. She has grown up with the stories about the Asia Minor. She does not know Turkish, and has been in Izmir for several times. They have established The Heraklion Alacati Association in 1982. She also attends to a club where she sings her ancestry land's songs.
The construction of the film is formed by these two characters and the stories are told by the songs belonging to the other side. The main concern, traced in the second, third and forth generations is the appreciation of the current situation.The relationships between the forth generation and their parents are the tense points in the film. Though being in Crete seems unimportant for the children, in fact they live under the dominance of Cretan culture in certain aspects.
[In Greek and Turkish, with Greek and Turkish subtitles]
Documentary-style feature about the eventful life of Hamburg's high-class prostitute and later social worker Domenica Niehoff. Domenica's mother leaves Italy and her violent husband, makes her way to Germany with her two children, but gets arrested eventually. Domenica and her brother end up in an orphanage where they are educated by nuns. In the age of 17 Domenica gets to know brothel owner Joseph Rothenberg who is just as violent as her father. He takes Domenica to Hamburg, and she starts working as a dominatrix.
No English subtitles available.
Full credits, text and picture details at [filmgalerie451.de.intern]http://www.filmgalerie451.de/en/filme/domenica/
Zownir - Radical Man je dokumentarni film o enem izmed najbolj cenzuriranih fotografov, filmarjev in pisateljev kriminalk našega časa. Zownir je dosegel kultni status s svojimi fotografijami, filmi in kriminalkami iz Berlina, Londona, New Yorka in Sovjetske zveze, v njih portreti kriminalcev, spolno izobčeni in socialno izključeni.
Njegovi portreti so ostri, brutalni, včasih pornografski, ampak tudi polni dostojanstva in magije.
Drugače kot večina najbolj ekstremnih fotografov Zownir ne portretira samo outsiderjev, on živi v njihovi sredini. Tako njegova dela pridobijo intimnost in neposrednost, to kar mnogi fotografi izpustijo.
Tematsko se film ukvarja z Zownirjevim otroštvom v povojni Nemčiji, z vzponom pank gibanja v Londonu in Berlinu poznih sedemdesetih, razcvetom in zatonom spolne revolucije v New Yorku zgodnjih osemdesetih, s socialnim propadanjem nekdanje Sovjetske zveze, kot tud z njegovimi tragikomičnimi zgodbami o izobčencih in outsiderjih.
V Parizu po sledeh zgodnjega fotografiranja aktov: komaj da je bila fotografija izumljena, že je krožil prvi akt. Erotične slike so v glavnem nastale na skrivaj: fotografije golih ljudi so bile prepovedane! Scene zbirateljskih trgov prikazujejo, kako so še danes zaželene lepotice od takrat.