Georg Koszulinski

"Das Marsprojekt" merges non-fiction filmmaking traditions with science-fiction. The story revolves around the first-person account of a Martian colonist who reflects on her experiences leaving Earth, terraforming Mars, and ultimately taking part in the revolution for Martian independence.

Three narrators converge in the deserts of New Mexico, each with a separate story to tell. One narrator is J. Robert Oppenheimer, another is a visitor from outer space, and the other is me. Our stories converge across the span of time and space into a single stream of consciousness.

"A personal essay film reflecting on the relationships between the Anthropocene, poetry, parenthood, and the history of Alan Moore's 1980's run on the Swamp Thing comic book."

America is Waiting. Trump and company in Washington. "Why are you here?" Asks Georg Koszulinski with his camera in hand to several of thousands of protesters who, even from the early morning hours, take to the streets of Washington D.C. to await the inauguration ceremony of Donald Trump as president of the United States of America. The question is in itself the premise of this document of a historic day on North American soil. In this way, America is Waiting gives voice to those who oppose Trump as their president by occupying the spaces of the capital from where the tycoon will lead the nation for the next four years...

"Five hundred years after first European contact, I find myself at the western edge of the continent. It's here, in a secluded part of the coastline that I encounter a series of petroglyphs carved at the water's edge." - Georg Koszulinski

In a strange twist of irony, Americans celebrate their independence on the sovereign lands of the Quileute People. An ambient soundscape coupled with the opening shot of an adjoining RV park work in unison to reveal an alien invasion on the shores of Quileute Tribal Lands.

Frankenstein Revisited tells the story of a World War I veteran killed in action only to be brought back from the dead. After a team of scientists reanimate his corpse, they eventually succeed in destroying the monster they've created. But fifty years later, at the height of the Cold War, the monster is brought back to life once again, this time his brain replaced with a CPU, and his memories substituted with the history of the 20th century. But the power of memory proves too powerful for the madmen who would attempt to play God, as the man-turned-machine attempts to destroy his makers once more.

A meditation on the syncretic nature of art and culture in the 21st century, superimposing the of internal world Baldwin's subterranean film lab with a group of Mayan dancers during the Dia de los Muertos procession.

One America is Dvorak's, from his American String Quartet No. 12, composed in 1893. The other is mine, culled from found images of the America born from the moving image. Combined, the portrait spans three centuries

An audio/visual study of Highway 301

Every season, tens of thousands of migrant farmworkers converge on small communities like Immokalee, Florida where they plant and harvest the food that Americans consume. A vast majority of these workers are undocumented, leaving them at the mercy of the large agribusinesses who hire them, the crew leaders who contract them and the landlords and businesses that profit from the seasonal arrival of migrant workers. Their "undocumented" legal status allows for a system of exploitation that leaves workers and their families to endure conditions and wages that rarely meet international human rights standards. Immokalee U.S.A. documents these daily experiences, leading the viewer to examine their own role in the issues migrant workers face in the U.S.A.

Renegade filmmaker Georg Koszulinski takes on Florida's history from a decidedly different point of view. Blending archival and original footage, he brings to life a cast of historical characters spanning over 12,000 years, from Florida's ancient Indians to the migrant farm workers of the 21st century. Meet Osceola and the Seminoles, who fought alongside escaped slaves in the most costly Indian War in American History. Unmask Florida's Ku Klux Klan and don't forget about Walt Disney and Henry Flagler - perhaps the two characters most responsible for the Florida we know today.

In the year 2012, the 3rd great war comes to an end. The war claims no victors, but both sides succeed in executing their chemical warfare campaigns. The result is over 3 billion deaths. Over ninety-eight percent of the male survivors are rendered sterile. Human reproduction is realized by means of cloning. The first strand of clones are harvested in December of 2012 and received with overwhelming success. It was not until nineteen years later that the first problems arose.

A fictional account of David Koresh’s last words, a cursory analysis of the pantheon of Icelandic sagas, a home movie taking into account 20 years of filming on an old Bolex 16mm camera, a series of reflections on the destructive nature of industrialized societies: a collage film, metaphysical road trip movie in time of pandemic and social uprising. A point-and-shoot epistolary fever dream collage film made in times of multiple crises.

Juskatla weaves together perspectives of the people who live on the islands of Haida Gwaii-an archipelago on Canada's Northwest coast, and the ancestral territories of the Haida Nation. From industrial loggers who harvest trees from ancient forests, to Sphenia Jones, a Haida matriarch who bears an intimate knowledge of her People's territories, Juskatla meditates on the divergent ways of being that shape the islands and its people.

Filmed on the island of Haida Gwaii, this documentary depicts the ongoing resistance and resurgence of the Haida people and their culture against the different manifestations and trauma of colonization.

From "the historical vantage point" where the Makah Tribe once observed early Europeans exploring the Strait of Juan de Fuca, the filmmaker considers the drawing of a new kind of map.

The first entry in a series of personal essay videos that explores conceptions of the frontier. Mythologies of the Conquerors tells of strange encounters with animatronic Indians, performances of displaced ancient traditions and mass pilgrimages to sacred sights of power and spectacle.

A display of a fallen red cedar at Olympic National Park headquarters proclaims in 1349 "Indians live here." TREE BEGINS LIFE INDIANS STILL LIVE HERE produces a meditation on the territories of the First Nations of the Pacific Northwest, and invites an alternative interpretation of U.S. sovereignty over these lands.

The third installment in Koszulinski's Florida trilogy, Last Stop, Flamingo takes one last critical look at the sunshine state. Koszulinski investigates a region defined by imaginary histories and landscapes, from the drained and dredged river known as The Everglades to the man-made white sand beaches that make up Florida's coastline. Early visions of Florida landscapes are revealed, from the early 20th-century Koreshan utopian community, founded by Cyrus Teed in the swamplands of Florida, to the world's largest planned subdivision--Golden Gate Estates--which projected a population of over 400,000 residents. Five-hundred years after Ponce de Leon's discovery of Florida, Koszulinski reflects on the many ways in which Florida's landscapes have been irreversibly shaped by human desires.