Jörg Höhne

Imagine waking up tomorrow and all music has disappeared. Just like that. What will remain when it is all gone: CDs, iPods, instruments?

The filmmaker travels to the mysterious land of the “poor souls.” He visits eyewitnesses in rural areas of Central Switzerland. They offer their account of mystifying experiences in connection with the afterlife, of evil deeds by people who passed away long ago in need of atonement. The film investigates the hidden signs of mountain magic and reminds us of our own myths, ghosts and primal images. It also looks for paths to self-awareness that could be revealed to us within and under layers of centuries-old Catholic cultural sediment.

찬다는 요하네스버그 근교의 작은 마을에 사는 열두 살 소녀다. 어느 날, 태어난 지 얼마 안 된 막내 동생이 갑자기 죽고, 그 충격 때문인지 엄마마저 병석에 눕는다. 그러자, 술에 찌들어 사는 새아빠는 찬다와 두 동생을 내팽개치고 집을 나가버리고, 찬다네 가족을 대하는 마을 사람들의 태도가 이상해진다. 찬다는 동생의 죽음, 엄마의 병, 마을 사람들의 냉대가 모두 한 가지 이유 때문이라는 것을 알아채고 이를 밝혀내려 하지만, 사람들은 모두 침묵으로 일관한다. 칸영화제 주목할 만한 시선에서 상영되었고, 더반국제영화제에서 여우주연상을 수상하였다.

수감자들에게 피아노를 가르치는 노년의 음악 교사. 복역 중인 소녀에게서 천재성을 발견하고 재능을 키워주기 위해 노력을 아끼지 않는다.

One night, Matiss Zelcs, an employee of the Latvian national archive in Riga, notices a woman on a bridge. After passing by her without preventing her suicidal fall into the depths, a sensation of failure and guilt changes his life. He cannot forget her. Driven by a feeling of remorse and the fever of illusion, he roams through the city night and day looking for traces of her existence. This journey through the tumult of his conscience leads him deeper into his own loneliness and the depths of his soul, as he gets more and more entangled in the destinies of the woman and of the people who were attached to her. He finds himself confronted with the pain of yearning and guilt, the cruelty of love and desire, and the search for forgiveness, release and salvation.

In the last house just behind the western borders of Russia, between Paris/Texas and Korleput/Mecklenburg-Vorpommern, Cindy Sherman, Dogma 95 and Duma 2000, Frank Castorf directs his virst video production "Dämonen" ("Demons") as a sort of post-Soviet-panslavistic panopticon in his own dramaturgy based on Dostojewski's "Demons" and Camus' "The Posessed". All that in set designer Bert Neumann's industrial-designed bungalow (with swimming pool) built onto forbidding landscape.