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Inger is a DJ, filmmaker and musician who produced Super8 films in the period from 1994 to 1997 as a member of the collective in the queer community space 'Buschwindröschen' in Cologne. From its opening in autumn 1992 until its closure in 2000, Buschwindröschen evolved into a thriving hub of vibrant queer life in Cologne's Südstadt district. Inger has undertaken a trip back in time for REMAKE, venturing into the attic and Hamburg's bildwechsel archive in an effort to bring these cinema treasures back to the big screen.

A typical group of young people get together at the weekend. Drinking is part of it because, according to them, alcohol is a social drug. But Rudolf knows better, because he is an alcoholic. He has been trying unsuccessfully to overcome his addiction for years. He observes young people as they deal with alcohol.

Portrait of director Ishmael Bernal.

Ion Garnica, sweating after dancing, goes to take a shower.

TV movie by Eckhart Schmidt.

A television tumbles from the roof and relives the stations of its life one more time.

The film provides insight into the thinking and lifestyle of various unsuccessful artists from different genres.

A rare documentary of a joint concert of the legends of dark folk on 27.03.1991 in Hamburg, Germany. Removed a local television company "Offener Kanal Hamburg". Includes, among other things, an interview with David Tibet. TRACKLIST Sol Invictus: 1. Aganist the Modern World 2. Lex Talionis 3. Black Easter Death In June: 1. Hullo Angel 2. Come Before Christ & Murder Love 3. Fall Apart Current 93: 1. A Song for Douglas 2. Summer of Love 3. One Eye/Be 4. Black Flowers 5. Happy Birthday 6. A Sadness Song Bonus: Oh Coal Blacksmith

First shower film. The camera on a tripod is on the "timer" and I move very slowly so that the viewer feels that something is wrong.

Three men are sitting in a waiting room. A joke with a daring anti-punch line: a four-minute cinematic irritation about the eccentric Austrian psyche. Or: a rubber raft, a rifle, a duck, the hunt for a feather - and the departure for the glistening other side, in other words: the other side of the door.

To evade the incomprehensible world of adults seven-year-old Natascha creates her own world, influenced by her impressions of sexuality and religion. It is a world of mainly catholic imaginations and symbols - a world between frightening bogey men and flying Christ children.

Desperate to find the perfect man, friends throw a party and invite all the eligible guys they know.

Animation of a panther, inspired the Rilke poem.

Heinrich George was a German actor who began his career in silent film. Although he was an active member of the German Communist Party before the Nazis came to power, he could be seen in many fascist propaganda films in the 1930s and during World War II. After the war, George, his wife and children were imprisoned by the Red Army in Sachsenhausen. George died during an appendectomy in 1946.

The subject of his own experiment, Höller consumes fly agaric mushrooms and is ostensibly affected. He describes his experience before he starts to sing a German Christmas carol for children, “Ihr Kinderlein Kommet” (O, Come, Little Children) more or less comprehensibly in overtones.

Beautiful, ragged animation, all flowing lines morphing one thing into another. Land becomes bull becomes man becomes cat, set to propulsive music by Goran Mikulec.

Film by Telscher.

The city is a bouncy castle; the film is a carousel. People disappear into boxes, and the sky gets trapped in the glass facades. Concrete crumbles from the men’s faces at every turn. They take a break, and the traffic is just traffic. Sirens bounce into the frame, and the constructivist haunting begins.

Manni and Gustav Held breed pigeons. The brothers live in Oberhausen-Sterkrade, where their "little man's racehorses" have their loft. Because on Sundays, they set off. During the race, they release their pigeons and let them find their way back.

A short film by Deborah S. Phillips.

One of the two documentaries portray theater director Einar Schleef in Vienna and New York, alternating between observations of his work and interview segments in which Schleef reflects on theater and culture in general. Other individuals also have their say, notably Elfriede Jelinek.

The story in episodic segments of five very different young people in present-day Frankfurt am Main who see each other but do not meet, wait for each other and avoid each other, sometimes colliding.

On a trip to the southern tip of Europe, where a strait only eleven kilometers wide separates Africa from Europe, a film letter to a Moroccan friend was created that searches for points of contact between the two cultures and always encounters boundaries.

It is fall in Sofia and two men, one young and the other old, meet each other. They have a dream in common: to escape. The young man can, now realize what the old man has longed for all his life. But then everything turns out completely different than planned.

Portrait of three Jewish children who survived the Theresienstadt concentration camp and grew up in an orphanage near London after the end of the Third Reich. The film attempts to document the memory work of the three 59-year-olds, who have no knowledge of their early childhood, and in doing so is confronted with the problems involved in completing one's own biography.

A portrait of the nearly 90-year-old dance pioneer who cared little about bourgeois conformity and devoted herself all the more to dismantling stereotypical images of people: "These citizens are all basically going backwards."

Third part of Rösing's trilogy about Jewish exiles. This superbly crafted documentary focuses on the poet and psychoanalyst Hans Keilsen from Bad Freienwalde on the Oder, who experienced war and persecution in the Dutch underground. At the age of 85, he returns, becomes an honorary citizen of his hometown, and takes the film crew to the places that hold memories of his time in exile.

It is a film about one of the ethnic cleansing in the Balkan Peninsula, which took place in in Bulgaria. The consequences of it are lasting till now. In the mid 80-ies the Bulgarian communist authorities started to forcefully change the Turkish names of about one million ethnic Turks into Bulgarian ones, in an attempt to resolve the ethnic problems that had been piled up for years. The film tells the stories about three women and their divided families. Each of them experienced in her own way this tragedy.

A Berlinale award nominated short feature.

I had forgotten this 16mm black and white film I made in the mid-nineties (maybe 1995). We tried to perform and make a trash violence sex movie in the tradition of the Kuchar brothers or film noir. The girl is Georgia Sulla Tella, the man a real police cop we asked for the role for the bad guy playing in the red-light area of Frankfurt. He was happy to play a bad boy and he is real good. The music is "Sleepwalk" and the drums from a Pink Floyd record. I shot the film and edited it later on my own. The apartment was the one I was living with Georgia, it was our real outfit. She always wore this kind of stuff, you know all the good girls were wild.

Uwe, Siggi, Teddy and isa live in the underground car park of Staatsgalerie Stuttgart. They have been granted five parking spaces where they built a home for themselves that is far more usual than one would expect. This documentary captures their daily routine which includes cooking, walking the dog, playing cards, and discussing hamburgers, cucumber and bread.

Interview with Volker Koepp about his filmmaking practice conducted and directed by Christoph Hübner

Brought to life from the depths of a cake-mixing bowl a small rabbit appears and falls for the wrong guy. She will use all of her feminine charms to win his stony heart and still fail. A bitter-sweet love story told with humour which journeys along the road of devotion, jealousy, intrigue, pride and pain. Big feelings on the kitchen shelves.

Documentary about a German agency dealing with records of WW2 soldiers.

The Kurdish director Yüksel Yavuz tells in an autobiographical documentary about the life of his father, who worked as a so-called guest worker at a Hamburg shipyard from 1968 to 1984. Never really at home, he only knew the way to work, the fish market and the coffee house. Yavuz succeeds in creating a touching contemporary document in which he traces the personal life story of his father and connects it with a piece of the social history of the FRG.

Two actors in the roles of a soccer team's coach and assistant coach watch an "important" game. In many ways, "Wisla" is a highly successful excercise in the art of properly placed marks of elision.

It did not exist before 1986, but now it is creeping into your apartment and lurking everywhere, ready to block your arteries - and blow your fucking heart up - a slithering, slimy monster that actually looks like cottage cheese...

14 Shortfilms by Klaus Beyer

An exploration of the futility of existence.

"One week captured in time-lapse. Approximately every 8 seconds, I shot a frame. One sees a table with a vase full of gladiolas. The flowers slowly wither. Three goldfish are observed in their aquarium. A candle is replaced as it burns down, and the differing speed with which each candle burns becomes visible. A small television runs non-stop, set on the German Channel 1. There‘s a chair on the left where I sometimes sit to eat or read. A clock hangs on the wall, as does a calendar. When the sun shines, the window casts a shadow that meanders along the wall. At night, one sees the reflection of the candle in the static on the television screen. The rhythm of time is interrupted each time I put a new roll of film into the camera, sometimes causing the clock to appear to move backwards. Twice reality is captured in “real time”: when a fish is fatally ill, and once to capture the entire setting." —Milena Gierke

"Shot from my grandmother‘s flat in Frankfurt’s (am Main) Westend district. The view includes buildings, the sky, trees,and a dressing gown in a light, summer breeze, sometimes shot in time-lapse." —Milena Gierke

To restore the rule of law in Ercolano, a suburb of Naples and one of the cities symbolizing corruption in Italy, is the task that Luisa Bossa, elected mayor in December 1995, has set herself.

A woman busily cleans the kitchen, then the stairwell. The recordings from the answering machine can be heard in the background. The concerned landlords pedantically bring up the same issues over and over again: concerns about the contamination of the hallway toilets by strangers or the loss of the basement or toilet keys.

Documentary film.

Three women (Russian, Norwegian, Italian) recall their experiences in Nazi Germany during the war and revisit the places where they stayed voluntarily or involuntarily at that time.

A zombie brings a jack-o-lantern to life to collect enough blood for him to come to life.

Quotations from the brochure of a school for actors: “We expect the students to use the free space at school to explore the roles they play in their everyday lives, but also all that is alien to them, both the imaginable and the unimaginable.” And: “It is said that an actor’s school is a place to discover what Man is, and what he might become despite everything.” In the words of Kathrin Bohny: “I never thought of training to be an actress in that way, but I'm curious to find out how it will be.” The film: a young woman, learning to know herself, and of what she is capable. The wide path she follows, in the four years that her training as an actress lasts.

A Faces of Death compilation that was released exclusively in Germany, with a German narrator. Although most of the footage is compiled from the first three Faces of Death films, it also includes some new scenes, including car racing accidents and naval footage.

A girl dancing, repeated movements; Two layers of film superimposed and shifting in a complex rhythm, accompanied by an African drum. The making of MENI consisted of an obsessive unraveling of a series of dance movements. The movements were cut into very short fragments (0.5 to 1.5 seconds). These fragments are edited into repeating patterns. Through exchanging fragments and double exposure the film becomes an intriguing and complex rhythm.

Siblings are traveling to Paris, their grandmother has died. They try to find her through old letters and pictures and start a conversation. When they finally arrive in Paris, it becomes clear that they won't be staying. They meet a stranger.

For more than 50 years, the history of the unprecedented resistance of Jehovah's Witnesses was concealed under the Nazi regime. Thanks to the support of the United States Holocaust Memorial Museum in Washington D.C., as well as the support of the board of trustees of young German film and the cultural film funding of Lower Saxony, this film was created. It tells the story of Jehovah's Witnesses, who placed the principles, commandments, and prophecies of the Bible, above the laws of the National Socialist State.