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Schimpft uns nicht Zigeuner!

The film accompanies Linda and Gallier in their everyday lives and gives them space for self-representation: at school, at the family table, at the disco, or in conversations with friends. The racism of the majority society, the pressure to assimilate, and the counterarguments of the two young people and their community members are omnipresent. The parents and grandparents are survivors. Linda summarizes that experiences of persecution and oppression have shaped the strong sense of belonging among the Sinti.

Schimpft uns nicht Zigeuner!

NR 1980
Pourquoi l'étrange monsieur Zolock s'intéressait-il tant à la bande dessinée?

"Why is the strange Mr. Zolock so interested in comics?" is a Canadian docufiction film, released in 1983. A documentary about comic books and graphic novels, the film features interviews with comics illustrators wrapped by a fictional frame story in which Monsieur Zolock (Jean-Louis Millette), an evil supervillain, hires private investigator Dieudonné (Michel Rivard) to investigate the cultural influence of comics as part of his plot to take over the world. The film won the Genie Award for Best Feature Length Documentary at the 5th Genie Awards in 1984.

Pourquoi l'étrange monsieur Zolock s'intéressait-il tant à la bande dessinée?

NR 1983
Fast Food - Eßkultur von morgen?

For some children and teenagers, a visit to McDonald's is one of their favorite treats. Why young people prefer fast food restaurants and products, what advertising methods fast food restaurants use to attract their young customers, how fast food meals are made—all these questions are addressed in the first part of the film. The second, shorter part deals with nutritional problems caused by fast food. The harmful effects of a diet high in phosphates are illustrated using the example of a hyperactive child.

Fast Food - Eßkultur von morgen?

NR 1987
Pentecost

Walking a thematic tightrope, Norbert Meissner here puts media technology to the test. The universal event of pentecost is the moment of the highest realization: technologically, the moment of all possibilities, i.e. white noise and snow. The text spoken by a TV announcer tries to create a hierarchy, but it is constantly disturbed, subverted, and displaced by electronic image distortions and fade-ins and fade-outs of multilingual versions of the text and of signal terms in various alphabets. A work to be read with differentiation on truth, sublimity, and the media.

Pentecost

NR 1989
La preda

Each of us, sentimentally speaking, has happened to have been at least once in our life, either a hunter or a prey, perhaps even without his knowledge. But what is the best role or simply the most convenient one at any given moment is difficult to establish. Sometimes it can even happen to be both, or to start off as hunters, only to find "prey". Of course, however, the opposite can also happen. Continuing undeterred in the territory of the desecration of pre-established roles, this time we have targeted (always with irony) another stereotype, that is, that which attributes to the woman the role of enemy, or at least antagonist of the homosexual.

La preda

7.0 1985
E.d.H.R.

Documentation by Vostell of the environment 'E.d.H.R. Electronic dé-collage Happening Room' from 1968, exhibited in 1982 at the Neue Nationalgalerie in Berlin in the exhibition "Art Becomes Material". The environment consisted of six televisions equipped with additional electric motors that move objects across the floor covered with broken glass. Slides of earlier happenings and works by Vostell were projected onto the walls. According to Vostell, the room contained "Multi-layered mixed layers, superimpositions and events, mobile collages and dé-collages".

E.d.H.R.

NR 1982
Cinema as Foreign Exchange

This documentary shows how cinema has been used very differently in three neighbouring African countries with different colonial heritages: Zimbabwe, Mozambique and Madagascar. Mozambique used cinema newsreels as a crucial propaganda tool after the Portugese colonisers left. Madagascar boycotted US movies, so its screens were dominated by French, Indian and Hong Kong films instead. But a few films managed to get made. The situation in Zimbabwe was the worst, except that alone of the three countries it possessed an efficient film laboratory.

Cinema as Foreign Exchange

NR 1984
Paperback Woman

Leaud portrays a Parisian publisher of romance novels who hits on the gimmick of having his live-in girlfriend (carrot-top cutie Helene Lapiower) pose as author Rosine de Beaumont for book jacket and autograph signings. She's an immediate hit but rebels against being exploited, and throws Leaud out of their apartment. Complications occur when she meets a nerd (Rufus) claiming to be the book's author, leading to discovery of the real author (Thierry Fortineau), a bookseller who"s so happy to be in print at last that he's not to miffed at the deception. Climax shot at Charles de Gaulle Airport neatly weaves plot threads together for a blissfully happy ending.

Paperback Woman

9.0 1989