Director
A filmic encounter with Brazil, which Aurand visited for the first time in September 2022 for screenings of her films and Margaret Tait’s in São Paulo and Rio de Janeiro. Aurand’s 16mm films are portraits of people and place, often prompted by the discovery and experience of travel. As George Clark has written, the journey is a cornerstone of Aurand’s filmmaking: "“Her work builds out from fragments, detours, refrains and returns; her camera picks up discarded gestures and suspends them in time. Films are always moving, always fleeting, Aurand’s work reminds us. These qualities are as fundamental to lived experience as they are to the cinema. Throughout Ute Aurand’s work we encounter a world animated by her mobile and dynamic camera, following, chasing, leading and dissecting space."
Beavers’ starting point for this film was a question about how the places where he has lived influences how he sees. Beavers return to one or two locations in Berlin that he had filmed for Diminished Frame in 1970.
Director
A short portrait of the filmmaker Renate Sami.
Sound Designer
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Sound
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Editor
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Cinematography
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Producer
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Director
A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.
Director
In Aurand’s signature diaristic form, roses in bloom, farm animals, Orkney landscapes, and scenes of the late filmmaker Margaret Tait having tea are rendered through expressive Bolex movements as well as the director’s active camera, and punctuated by abstract swaths of saturated and shifting colors. The film is an homage to Tait, whom Aurand visited in Orkney.
herself
película experimental
Director
A new short film portrait that, as often in Ute Aurands work, was filmed over several years and in different places, in this case Germany and Japan. "Filming portraits allows me to emphasize private gestures and moments, and thus to transcend the narrative or documenting." (UA)
Director
For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?
Director
Two memories from a longer visit to New England in Autumn 2012: a group of elderly ladies playing bridge followed by the stormy ocean at Cape Cod in Winter while listening to Etienne Grenier's music practice.
Director
2 minute film about two Japanese ladies.
Director
My friend of many years, Philipp v. Lucke, celebrated his 60th birthday by inviting his family and friends to join him in a forest near Görlitz. This was also in memory of his father's childhood and the family's connection to the place. It was a very hot July day.
Director
"Somos hermanas. Una pinta, las hace películas. Desde 1999 hemos hecho tres películas juntas en las que ponemos las cosas en movimiento por medio de imágenes individuales. En "Fadenspiele 3" trabajamos en verano e invierno en las montañas de Flumser (Suiza)"
Director
Cerrando la trilogía comenzada en La India y Japón, en este viaje por Nueva Inglaterra, Nueva York y el suroeste de Estados Unidos, Aurand conjuga atención, conciencia e intuición, los tres métodos, según Mekas, del arte de la improvisación. La imaginación ayudará a evocar algunas enigmáticas experiencias no filmadas.
Director
Portrait of Canadian artist Susan Turcot in 1993 and 2011.
Director
Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.
Director
Paulina Buda is my godchild, and I have filmed her since she was very young. Paulina is now 15 years old. Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old. Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.
Director
Paulina Buda is my godchild, and I have filmed her since she was very young. Filming portraits allows me to emphasize private gestures and moments beyond narration and documentation.
Director
"Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old." U.A.
Director
Young Pines grew out of three trips to Japan between May 2009 and November 2010. Invited to Japan for a series of film screenings, I began filming in Yokohama, Tokyo, and Kanazawa. Even in the big cities, I experienced how strongly the Japanese feel connected to nature and how they tend to see no contradiction between culture and nature. I found this stimulating and in harmony with some of my own impulses. I wanted to return and film more in other seasons. In Spring 2010 I visited Kamakura, Kyoto, and Nara, in November I went Northeast and filmed in Matsushima, Tono, Miyako in Atsumi, Yamadera, and Nikko. All of my film images have been filmed before the disaster of the Tsunami and Fukushima, but the final editing was done in the following months.
Director
Ute Aurand’s Hanging upside down in the Branches is a gentle, generous and unsparing portrait of the filmmaker’s parents, whose passing is marked by remembrance and the loving recording of them - Andréa Picard
Director
película experimental
Director
A triptych of three short silent films. A Walk through the winter of Engadin and Bergell, scenes in the park of the Rietberg Museum in Zurich with its collection of Asian, African and Indian art, and an ice-skater on a sunny day in Zuoz, a village in the Engadin.
Director
"Here it is very nice at the Moment" is a triptych. In the first part, "Maria und die Welt", Ute Aurand films Maria Lang in 1995, who moves to the countryside to take care of her mother. The second part, "Familiengruft - ein Liebesgedicht an meine Mutter" was produced by Maria Lang in 1981. It tells about what we most often keep quiet - prohibitions, barriers but also love. Twenty-two years later, Ute Aurand films Maria's daily care of her mother, now ninety-six years old: edited in 2006 by the two filmmakers, "Der Schmetterling im Winter", composes the last element of the triptych.
Director
Ute Aurand films Maria Lang in her daily activity as she cares for her mother. The presence of the filmmaker is visible in the camera movements and in the editing rhythm. Admiration and discretion are sensed. We enter into the intimacy of mother and daughter through the eyes of a friend. The silent images create an occasion for attentive observation and balanced awareness.
Director
"India" fue desarrollada a partir de mis tres viajes a Pune en 2001, 2002 y 2004. Llegué a un país extranjero y me sentí sorprendentemente familiar en lo extraño. Allí en las calles, caminando entre la gente, rodeada por sus movimientos, sus gestos, por los colores, la luz, la belleza... pequeñas cosas despertaron mi atención. A veces sólo un breve destello, un movimiento de la mano, el color de un sari, un templo escondido en un patio... fue como un largo baño caliente que tomé allí en las calles de Pune, algo único y muy hermoso.
Director
"Glimpses of my life. Friends, snow, two tulips, skaters on the frozen lake of my childhood, balloons in the morning sun, my godchild Paulina running up and down the hill, Ulrike’s 50th birthday on the Baltic Sea, my desk in November 2003." - Ute Aurand
Director
"Fadenspiele 2" es una animación hecha con la pintora, mi hermana, Detel Aurand. Filmamos dentro del estudio y al aire libre en el bosque y los campos. De varios elementos como el papel, la madera, el plástico y la tela vienen imágenes que cambian continuamente su forma. Vemos una imagen que evoluciona de la otra, convirtiéndose en algo nuevo.
Director
Short film featuring images of flowers.
Director
For a year at monthly intervals, Ute Aurand and Bärbel Freund filmed In the Garden, a lovely portrait of a Potsdam-Bornim garden designed in 1910 by gardener and philosopher Karl Foerster. An extraordinary variety of flora, natural lighting effects, textures and colors unfold in this gentle, expertly edited film, which forms a bridge between the natural world and the individual soul.
Director
Filmed every day during the final four weeks of the Berlin Film Museum’s construction.
Director
"Fadenspiele" es pintura transformada en película. Color, hilos, piedras, diversos elementos naturales dan nacimiento a imágenes que cambian constantemente en forma. Esta metamorfosis se hace visible - vemos una cosa que nace de otra y da nacimiento a algo nuevo.
Director
“In the day after seeing Terzen, there was a surprising sense of the film that developed for me. The rhythms were still present and helped to unify a multitude of impressions. This lead me to reconsider the general tone of the film because, as I reached beyond its quick pace and rhythmic lightness and beyond the everyday content, I realized that its Heiterkeit grows out of a serenity or courage in facing mortality. This is the surprising sense of the film, its inner music. (…) Early in the film I recall a chair held in the strong afternoon sunlight. Even though you show it from many angles, it has a potent stillness. This strikes me as a good example of how you embody an active sense of seeing in your filming, and you reflect back to us the paradox that it is in movement that we create stillness. The eye, constantly moving yet creating stillness." — Robert Beavers
Director
ZU HAUSE (At Home) ist the final sequence in TERZEN, playing with the filmmakers shadow and the Bolex camera while filming in her kitchen.
Director
I asked 10 friends, filmmakers and non-filmmakers, to make a film about the Seasons - a child, an 80year old, a painter, two artists and filmmaker friends, I also made one.
Director
A walk, a moment at the beach... And the Japanese filmmaker Utako Koguchi behind the heard piano.
Director
A film about my friend Maria Lang. The light falls on a few details, chance selections, out of which a place is composed, the place where Maria lives with her mother. A landscape, a village, a kitchen, 25 her room.
Director
Un retrato de los cineastas Bärbel Freund y Karl Heil como una canción en sus versos cambiantes. Los lugares fueron elegidos de acuerdo con el estado de ánimo y la temporada: en primavera, en la nieve, en Venecia, en el piso, solos y juntos.
Director
Los dos amigos de 11 años, Franz y Pablo, corren como ángeles bajo hojas gigantes e improvisan en con su piano y su trompeta.
Director
Durante un periodo de cinco años, filmé a Detel Aurand y Jón Sigurgeirsson en Berlín e Islandia, donde ellos vivían. "Detel + Jón es una película que hace la felicidad visible".
Director
Jón in Akureyri is the second part of Detel + Jón. I filmed Jón Sigrurgeiersson walking through the streets of his childhood, meeting his filmmaker brother and telling childhood stories.
Director
We hear the actor Alexander Moissi reading the fairy tale by Hans Christian Anderson (recorded in 1927), while seeing the face of a young woman standing outdoors against a distant hilly summer landscape.
Director
Director
Aurand and Pfeiffer filmed each other at four famous sites in Europe: walking in a summer dress through the snow in front of the Reichstag in Berlin, spinning a young boy again and again through the air in Red Square in Moscow, climbing on a hot day into the waterfall at the Place de la Concorde in Paris, and, as two angels in London, walking through the night of the City. The film begins with a text about improvisation by Jonas Mekas read by himself.
Director
Una obra estilizada filmada en el Externsteine, el Reichstag en Berlín y en un jardín de rosas nocturno.
Director
Paul Celan lee a Paul Celan. Las palabras que oímos se ven en la pantalla - el sonido óptico negativo se convirtió en la imagen visible.
Writer
Un viaje imaginario en barco. Transformamos el edificio de la Academia de Cine en un barco. Claire y Solange de una pieza de Jean Genet, una mujer polaca con su Madonna, marineros que gritan son algunos de los pasajeros en este viaje artificial.
Director
Un viaje imaginario en barco. Transformamos el edificio de la Academia de Cine en un barco. Claire y Solange de una pieza de Jean Genet, una mujer polaca con su Madonna, marineros que gritan son algunos de los pasajeros en este viaje artificial.
Writer
Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.
Director
Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.
Writer
Experimental film featuring a female protagonist.
Director
Experimental film featuring a female protagonist.
