Anthony Moore

Candice anhela escapar del aburrimiento de su ciudad costera, pero cuando un muchacho que padece sonambulismo aparezca en uno de sus sueños, todo cambiará. En especial, cuando se encuentre con su versión real, hasta que descubra que es parte de una banda que aterroriza la zona.

In conversations with his friends and colleagues, among them Bernd Upnmoor, Helmut Herbst, Alexander Kluge, Klaus Wyborny, Daniel Kothenschulte and Helge Schneider, Ulrike Pfeiffer takes us on a journey into the broad expanse of Nekes' cabinet of wonder and his cinematic works. At the same time, this documentary provides an insight into the history of experimental film in Germany.

The painter gazes at his female model, or how voyeurism is transformed into culture. An erotic adventure film where the theme is the viewer himself.

Director Werner Nekes has created this experimental film in the mode of James Joyce's Ulysses to the extent that human interactions are represented by poetic, symbolic images and language, with a certain amount of nudity added in. ~ Eleanor Mannikka, Rovi

Makimono is an Asian roll painting depicting a landscape. The subject of the film is the language of film itself, its mutability and its influence on the viewer's vision and thinking. While the film gradually progresses the viewer is gently invited to reflect on the development of the film in its expressive potential.

An experimental film where a particular space is constantly "present" : there is a complex usage of superim- position, and of split-screen effects. The place shown is a part of a house in the country. Doors and windows are continually shown, emphasizing the film's concern with framing. Other images are present: city-scapes of a particularly sinister nature, implying a sense of ruin, and shots of a chorus on a stage. These shots begin and end the film which is accompanied by a vocal chant on the soundtrack.

Largometraje dividido en cinco episodios: Sun-a-Mul, Alternatim, Kantilene, Moto y Hynningen, Diwan es una película puertas afuera con gente. Con gente que no es ni más ni menos que una parte de la preciosa y exquisitamente fotografiada naturaleza que la rodea. Lo que Nekes logra con paisajes, en un medio que avanza en el tiempo -cómo derrota a un tiempo que modifica las cosas al emplearlo para modificar el paisaje, cómo perturba o destruye las leyes de la cronología a través del mecanismo de rebobinado de la cámara- es un proyecto experimental cautivante.

Largometraje dividido en cinco episodios: Sun-a-Mul, Alternatim, Kantilene, Moto y Hynningen, Diwan es una película puertas afuera con gente. Con gente que no es ni más ni menos que una parte de la preciosa y exquisitamente fotografiada naturaleza que la rodea. Lo que Nekes logra con paisajes, en un medio que avanza en el tiempo -cómo derrota a un tiempo que modifica las cosas al emplearlo para modificar el paisaje, cómo perturba o destruye las leyes de la cronología a través del mecanismo de rebobinado de la cámara- es un proyecto experimental cautivante.

The film is divided into five parts differing in pictorial and musical structure. The plot, two women and their love for one another, is of secondary importance. An ingenious combination of stereoscopic images and montage of individual pictures make new qualities of perception accessible to the viewer. In the final part of the love scenes pictorial sequences and music build up to a delirious rhythm.

SPACECUT makes the frame a very strong culminating structure. Every frame is different, yet the almost half hour assembly of images results in a picture of one place being filmed. SPACECUT has two sections, the second being the frame composite, whereas the first consists of long takes. Within the swirling, fleeting frames the eye receives picture after picture like an enormous, exciting puzzle. Strangely enough, it receives it only by absorption - of the sky, trees, valley, rocks, shadows. The automatic retention of these flashes gives you a sense of being in this bowl of land made by the golddiggers in 1871. You might think that this use of single frames would hurt the eye, but in fact it does not. Rather the experience is one of total relaxation. (Stephen Dwoskin)

30 minutes of images with music by Anthony Moore

"...Nekes retreats behind his film. What is left is a double portrait, in which neither Dore 0. nor the grand landscape remain unchanged. The cold of the icy coastline - long shots of stones, snow and the sea - dwindles away before the image of Dore 0. Solitude is superflous, when the grandiose mountain meadow invites somersaults. ... In this case Nekes handles what he shows considerately. He releases the objects he portrays. He allows them to unfold. And so model and patterns actually serve another purpose: to let poetry grow, and energy and beauty and confidence nell'abbandono." (Dietrich Kuhlbrodt, Filmkritik, 9/1971).

From one flick of the mare’s tail came an unending stream of images out of which was crystallised the milky way.

According to the director, "Memory is a cruel hope without awakening."