Nika Breithaupt

Ida lives on a sailing yacht with a crew of five men. While on shore leave in Marseilles, she becomes fascinated with the French Foreign Legion and decides to sail to Sidi Bel Abbès, the Legion's former headquarters in Algeria.

“Territorial Fight” follows a student and her mentor through various vocal and speech exercises. The student is subordinated to the trainer during the lessons, ready to be guided and shaped by him. Yet from a certain moment she becomes the author and the authorial narrator. As a voice over, her speech overlays the command-like speaking of the teaching situation and self-confidently opposes it with another register. The teacher’s words are decreased and cut off as the student finds a pictorial language with which she describes how song birds assert their territory through their singing, and therefore raise their claim to space. The films consists of a collage of several lessons with a voice and speech trainer from a music and theatre school. The learning objective of the student was the desire to speak in a space-occupying way.

Shot in the German countryside, Catskin is a mysterious and alluring portrait of Ludwig, a teenage boy who lives a simple life with his father, grandmother, and their cats.

A young girl is cured of her epilepsy just as summer vacation is about to begin. During her last days with her classmates, she’ll come to experience life in a new way. Arranged as a series of elliptical tableaux, this haunting narrative from Luise Donschen (Casanova Gene) captures a simultaneous sense of discovery and disorientation as it proceeds from the confines of the classroom to a wider world of adolescent anxieties.

A young girl is cured of her epilepsy just as summer vacation is about to begin. During her last days with her classmates, she’ll come to experience life in a new way. Arranged as a series of elliptical tableaux, this haunting narrative from Luise Donschen (Casanova Gene) captures a simultaneous sense of discovery and disorientation as it proceeds from the confines of the classroom to a wider world of adolescent anxieties.

어느 여름, 이름 모를 곳. 셰어 아파트의 주민들이 모여 어디에 살면 좋을지를 논의한다. 이런저런 국가와 커뮤니티가 거론되지만, 시간이 흘러 어떠한 인간의 행동, 목표, 상태도 지금의 현실을 바꿔 놓을 순 없다. 그런 생각 끝에 어느덧, 그들은 모두 깊은 잠에 빠지게 된다.

어느 여름, 이름 모를 곳. 셰어 아파트의 주민들이 모여 어디에 살면 좋을지를 논의한다. 이런저런 국가와 커뮤니티가 거론되지만, 시간이 흘러 어떠한 인간의 행동, 목표, 상태도 지금의 현실을 바꿔 놓을 순 없다. 그런 생각 끝에 어느덧, 그들은 모두 깊은 잠에 빠지게 된다.

A person enters the frame dressed up as a bird. In a dressing room, John Malkovich sheds the costume of Casanova. A young woman's skirt is just as orange as the beak of a zebra finch singing in a cage. White lilies stand at the foot of a statue of the Virgin Mary, red roses in front of the window of an SM studio. There the quiet game of submission in exchange for money, in a museum an embrace, a poem whispered in the ear. Children playing in a forest in autumn. A forest in summer, framed by light. An orgasm and a dance.

두 여성이 북해 연안에서 주말을 보내고 있다. 그들 중 한 명은 가족이 있는 아르헨티나로 돌아갈 예정이고, 다른 한 여성은 더 먼 바다로 항해하고 싶다. 그녀가 돌아오면 다른 한 명이 이렇게 질문할 수도 있다. 달라진 게 있니?

두 여성이 북해 연안에서 주말을 보내고 있다. 그들 중 한 명은 가족이 있는 아르헨티나로 돌아갈 예정이고, 다른 한 여성은 더 먼 바다로 항해하고 싶다. 그녀가 돌아오면 다른 한 명이 이렇게 질문할 수도 있다. 달라진 게 있니?

The image of a room, its appearance changing with the shades of light. A window front, seen through the window. Changing flower arrangements on a side table. Sounds, entering the room from outside the frame. A construction site hints at changes in the exterior. Rehearsals. Are the sound waves of the piano reaching us from downstairs or from next door? In 21.3 °C Helena Wittmann reduces the filmic elements to the essentials: light, shadow, sound, direction. Out of this minimum, stories emerge that linger, atmospheres that resonate. Little by little the viewer is thrown back upon herself/himself. Through the facing window front someone seems to look back at us. Only the temperature remains the same.

The image of a room, its appearance changing with the shades of light. A window front, seen through the window. Changing flower arrangements on a side table. Sounds, entering the room from outside the frame. A construction site hints at changes in the exterior. Rehearsals. Are the sound waves of the piano reaching us from downstairs or from next door? In 21.3 °C Helena Wittmann reduces the filmic elements to the essentials: light, shadow, sound, direction. Out of this minimum, stories emerge that linger, atmospheres that resonate. Little by little the viewer is thrown back upon herself/himself. Through the facing window front someone seems to look back at us. Only the temperature remains the same.

In addition to demonstrating the unexpected complexities of individual life paths, THE WILD establishes the possibility of “cinematic space” becoming a type of “third space”. Two seemingly contrasting spaces merge to construct a new space. The first space is the living room of a retired couple. The second space is embodied in Super 8 recordings filmed by the old man during his numerous trips to Africa and Asia during the 60s, 70s, 80s and 90s. The pictures show exotic animals which are projected directly onto the walls and furniture of the house. The assembly of these differing spaces does not create a more succinct boundary between them, but rather assists in the mingling of the two spaces. In this fleeting moment of third space, as it is limited by time, a new cinematic reality is formed.