Philip Widmann

Un filósofo japonés escribe una carta a un colega alemán famoso y le pide que aconseje a los japoneses sobre cómo lidiar con la influencia de la tecnología en la vida moderna. Más de 50 años después, académicos e ingenieros aspirantes discuten los mismos temas. Es difícil entender cómo los humanos y la tecnología siguen coexistiendo. En las granuladas imágenes de la película, los paisajes de una época incierta aparecen, ocasionalmente inundados por agua y una cacofonía de instrumentos de viento. Lo incontrolable encuentra su camino en un mundo que intenta minimizar los riesgos y crea así nuevos peligros.

The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.

The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.

The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.

The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.

The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.

Klaus Wyborny’s STUDIEN ZUM UNTERGANG DES ABENDLANDS had its premiere at the Viennale in 2010, where it got rave reviews. Afterwards it was shown at several film festivals where Wyborny documented the cinema situations with a video camera. Out of that he made DAS LICHT DER WELT. In a letter to Harun Farocki he wrote about the result: “It’s a strange 86-minute film, partly in the form of a superimposition of seven image-layers. It has the same music (played sevenfold) and the same light-structure as STUDIES FOR THE DECAY OF THE WEST, but it takes place in seven different locations simultaneously, in front of competely different audiences. So one can see how the film was brought to the DAS LICHT DER WELT, and how the observed viewers are in some sense illuminated by the very light, that exposed my original films between 1979 and 1993. Quite a haunting prospect.”

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

The contents of a black briefcase lead us into a superficially well-ordered life in West Germany in 1970, in a city that can be seen as representative of the entire country. In this briefcase: the meticulous documentation of an affair between the small business owner Hans and his secretary Monika.

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.

A man travels Europe. Shortly thereafter, American troops enter the ground war in Vietnam. Destination Finale is an original 8mm amateur film, shot in 1964, found in Saigon in 2005 and edited by Widmann with a sense of drama.

A man travels Europe. Shortly thereafter, American troops enter the ground war in Vietnam. Destination Finale is an original 8mm amateur film, shot in 1964, found in Saigon in 2005 and edited by Widmann with a sense of drama.

A man travels Europe. Shortly thereafter, American troops enter the ground war in Vietnam. Destination Finale is an original 8mm amateur film, shot in 1964, found in Saigon in 2005 and edited by Widmann with a sense of drama.