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Heißer Sand

Captain Jeff Barlow is a pilot with heart and soul. On behalf of a French company, he dares to conduct an experiment that is not without danger: dry ice is to be shot into clouds over the Sahara to make them rain down. The aim is to put an end to the water shortage. However, the artificial rain project is anything but harmless. But Captain Barlow is far too passionate an aviator to be deterred by the danger. And so what has to happen, happens. A sandstorm is Barlow's undoing and he crashes his plane. Lost in the vastness of the Sahara, there is no trace of him. A search operation is launched but is unsuccessful. A race against time begins for Barlow, as his water supplies are running low...

Heißer Sand

7.5 1971
Sarah's Last Man

With her marriage and her life disintegrating before her eyes, in this Italian political thriller, Sarah has made a detailed filmed record of it all. Not only that, she made a film of the man who flung bombs into a political demonstration and she is killed for her effort. The story unravels as Sarah's husband, who is suspected of being her murderer, views the film on a moviola. He is trying to figure out what happened and why his wife died. Because he has the film which would expose the murderer and the political forces behind him, his life is also in danger

Sarah's Last Man

9.0 1974
Every Revolution Is a Throw of the Dice

A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.

Every Revolution Is a Throw of the Dice

6.4 1977
Odette Robert

Eustache’s grandmother Odette Robert was a key figure in his life, serving as a substitute mother during much of his childhood (My Little Loves was dedicated to her). In 1971, he recorded an interview with her that went largely unseen until 2003—Eustache never screened the complete film publicly, although a radically truncated version was presented on television. In a string of long, stationary takes, the camera watches over Eustache’s shoulder while he pours countless glasses of whiskey and Odette tells the stories of her life. A number of her themes resonate with those of Eustache’s films: cruelty, male philandering, the Rosière festival of Pessac. Number Zero is a return to origins—of cinema and of the self—and an experiment in narration, both restrained and deeply personal.

Odette Robert

6.8 1971
A Curious Man

Moriondo, a bachelor in his mid-forties, has spent half his life on billiard tables around the world and returns to his home town after fifteen years. Tired, penniless, with a failing budget, he returns above all to rediscover part of what he suffers from having lost: the feelings, the enthusiasm, the memories of youth. Instead he finds many people willing to remain silent and some friends who escape him, like Mambretti. He finds, above all, a mysterious hint of death. In fact, he learns that five years earlier a friend of his, Count Luigi Ambrosi, was killed with a singular system. A cyanide egg. The investigations and the trial recognized a certain "Panozzo", administrator of Count Ambrosi, as the perpetrator of the crime, but the wife of the killed man continues to maintain that an innocent man was convicted.

A Curious Man

NR 1975
Die Schwindelfiliale

Wanner, a man of independent means, has a mistress in Geneva. However, in order to spend a few days with her without risk, he decides to open a sales branch of a long-defunct company. He therefore hires a "trusted" employee in Geneva to look after the office premises, including the bedroom, and to provide his mistress with everything she needs. This arrangement works quite well at first, and Wanner enjoys this sweet diversion to the fullest until... well, until his wife wants to visit the branch and, above all, meet his business partner. Where can he conjure up a partner so quickly?

Die Schwindelfiliale

NR 1977
Kinetics

Art in glorious motion. Bright, colourful and often intensely dynamic, the 1970 'Kinetics' show at London's Hayward Gallery was a major international showcase of the new active sculptural art. Works by Jean Tinguely, Nam June Paik, Peter Logan, Takis, Jesus Raphael Soto and many others dazzled a wide-eyed public. This priceless film record of the show captures a kaleidoscope of neon lights, rotating metal, squirting water and stroboscopic projections. Director Lutz Becker, of the Slade School of Art Film Unit - who would go on to direct Double-Headed Eagle (1973), a documentary account of Hitler's rise to power - uses a variety of textural, electronic sounds (courtesy of Peter Sahla) to evoke the unusual experience. The show was enormously popular, with visitors filling out the gallery day after day.

Kinetics

NR 1972
Film Print

The film deals with levels of reproduction. The repetitious camera movements over successive photographs are intended to function as distancing devices relatable to mechanical repetitions such as film loops. The 'subject' of the film is the material operation or, rather, it is a film in its own right and an explication of the mechanisms and technique inherent in its making. It is not a documentary of those mechanisms and techniques. Film as anonymous production, wherein (exhaustively) certain techniques are utilized, does combat with film that represents the (absent) subject, the filmmaker (forever repressed ever-present, ever-represented). Film as presentation, not re-presentation.

Film Print

NR 1974