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Osdorfer Born. Werbefilm für die “Hamburger Bautage 1969”

On the occasion of the »Construction Days« in the autumn of 1969, the Hamburg Building Authority commissioned five HFBK film students to film one Hamburg commercial each. Christian Bau opted for a critical portrait of Osdorfer Born, Hamburg's first large-scale, prefabricated housing estate, which had been built from 1967 by Neue Heimat, SAGA and other housing companies on the western edge of the city. The images, shot on 16mm, were accompanied by interview passages and a text taken from SAGA's housing construction program. The client was less than enthusiastic, the film disappeared into a closet for decades and can now be shown for the first time in the cinema.

Osdorfer Born. Werbefilm für die “Hamburger Bautage 1969”

NR 1969
Immortalità

Three phases of the life of guerrilla priest Camilo Torres (the initial caption explains well how Camilo's mother distanced herself from the film, which falsifies in her opinion her son's life and ideology), told in such a way that it is difficult to read the same person in them; also because the protagonist of the first segment, a young bourgeois university student who is seduced by revolutionary ideals dying during a student revolt, is blessed on the lawn at the moment of his death by the very protagonist of the second episode, this one more obviously inspired by the Camilo Torres who felt his vocation and gave himself to the priesthood.

Immortalità

7.0 1969
Engel im Fegefeuer

The Ruhr area in November of 1918. 13-year old Achim Wolters and his friends get their hands on some potatoes on the market. They want to surprise Achim′s father, who works on a mine sweeper boat, with a decent meal. But Achim′s father does not show up – an informer at the train station has betrayed him for his left-wing beliefs and has turned him over to the police. The priest tells Achim the sad news and advises him to pray for the release of his father. But when carpenter Stelzebein stresses that everybody has to take actions for himself, the devout boy at first does not believe in Stelzebein′s words. But then Achim witnesses in the prison how brutally the imperial police treat his father and the other inmates. Together with his loyal friends, Achim takes Stelzebein′s side. When the revolution starts, they stand together on the barricades.

Engel im Fegefeuer

7.0 1965
Sunday Drivers

On August 12, 1961, eight people in three cars set off for Berlin from Leipzig. They want to go to the West. The initiator is the philistine Spiessack, who drives the others, who have embarked on the adventure with mixed feelings. It becomes a journey with numerous incidents and panic, which causes the different characters to clash. When they finally arrive in Berlin the next day, they are not allowed to cross the border. The only option is to return. At home, Spiessack is met by a policeman in his living room - with the slogan "We'll be back" written on the wall.

Sunday Drivers

6.5 1963
The Sweet Number - An Experience of Consumption

The subtitle of this merry performance is "An Action Text", indicating that the artist's introduction for the vaudeville number was an inflammatory impetus. Export provides precise instructions for the use of a wrapped box of chocolate-covered candy produced by the renowned Viennese company Hofbauer. However, she has not made an advertisement for them and their presentation, but instead, she extols the packqge and confection as a work of art. Severe degradation of the surviving tape further blurs our perceptions.

The Sweet Number - An Experience of Consumption

NR 1969
Hermitage

Hermitage, defined by Bene as "a rehearsal for lenses", beyond any literal rendition - its narrative trace comes from one of his anti-novels, Credito Italiano V.E.R.D.I - displays his immediate attitude to thinking a cinematic language completely based on actor's movements and actions, and more specifically, on his presence and his schemes. Camouflaged or naked, still or moving, his body seems to play and be played at the same time, shifted by objective and subjective tensions, both metaphorically and visually speaking.

Hermitage

7.2 1968
Wharf

Originally the work was presented as a pre-ordered sequence of 35mm slides showing two unknown people walking around the wall of a sea-side swimming pool. Switching between positive and negative focus on the mystery of the hidden and unresolved narrative between the ‘lovers?’. On occasions, this work was shown in superimposition with sections of the film Talla. Two sound tapes were mixed in improvisation. A digital video version has been made using the original slide sequence and audio tapes.

Wharf

NR 1968