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Die Würchwitzer Olsenbande auf der Suche nach dem Bernsteinzimmer

The Olsen Gang from Würchwitz want to uncover a secret that has kept researchers, treasure hunters and soldiers of fortune in suspense since the end of the Second World War. With space technology, an unbridled thirst for action and an ingenious plan, the three small-time crooks now want to finally capture their first million. On land, in the air and deep inside the earth, Egon, Benny and Kjeld set off in search of the legendary Amber Room. The Olsen Gang films are cult in the East. In the Würchwitz film studio, the smallest Olsen Gang studio in the world, the legendary films are being remade. In the third part, "The Search for the Amber Room", the Würchwitz film studio receives prominent support: cosmonaut Sigmund Jähn explains his multispectral camera.

Die Würchwitzer Olsenbande auf der Suche nach dem Bernsteinzimmer

NR 2008
Ilox

Compared to analogue b/w-photography and my experimental work in the colorlab, I tried to find out, what digital photography and computer processing is able to do, what the other techniques can't. We asked ourselves how does abstract film begin, what's its progress, how does it create suspense and how does it end? My model was the division of acts in greek tragedy. The length, the division of the different parts and the different cuts. The first abstract film made from pictures of plants was a purely abstract exercise, without any symbolic meaning nor background. The name stems from a misspelling of my Turkish flowersalesman, which I copied by accident. It is an abstraction of an Ilex twig. Another difference to all the other “flower pieces“ is that the film was made with a graphic-programme, that means each picture was constructed seperately, 25 pictures per second. That makes 4500 pictures which I worked on. Technically it is an animation film.

Ilox

10.0 2001
Inventario

The town of Frontera Corozal was created in the 70s as a modernization and urbanization project in Mexico. 601 Ch'ol families were relocated to identical plots of land by the Usumacinta River bordering Chiapas. I asked the citizens of the town to physically draw in space the contours of an imagined natural landscape or of their own constructed space. I worked with the community council (18 comuneros, all men) to make an inventory of all that exists within the town. The inventory was then narrated by a town council member through the makeshift speaker system that serves as the town’s preferred method of public communication.

Inventario

NR 2006