(voice over)
Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.
Editor
Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.
Cinematography
Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.
Writer
Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.
Director
Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.
Director
Concrete hubris looms over the Argentinean pampa around Buenos Aires. The buildings of Francisco Salamone (1897–1959) advertise a pitiless modern age.
Editor
His buildings are garish, colorful and completely overloaded. Columns and glittering chandeliers everywhere, and way too much of everything. The Bolivian civil engineer and architect Freddy Mamani Silvestre (*1971) builds houses in El Alto for a nouveau riche upper class of the Aymara, the largest indigenous ethnic group in Bolivia.
Cinematography
His buildings are garish, colorful and completely overloaded. Columns and glittering chandeliers everywhere, and way too much of everything. The Bolivian civil engineer and architect Freddy Mamani Silvestre (*1971) builds houses in El Alto for a nouveau riche upper class of the Aymara, the largest indigenous ethnic group in Bolivia.
Screenplay
His buildings are garish, colorful and completely overloaded. Columns and glittering chandeliers everywhere, and way too much of everything. The Bolivian civil engineer and architect Freddy Mamani Silvestre (*1971) builds houses in El Alto for a nouveau riche upper class of the Aymara, the largest indigenous ethnic group in Bolivia.
Director
His buildings are garish, colorful and completely overloaded. Columns and glittering chandeliers everywhere, and way too much of everything. The Bolivian civil engineer and architect Freddy Mamani Silvestre (*1971) builds houses in El Alto for a nouveau riche upper class of the Aymara, the largest indigenous ethnic group in Bolivia.
Writer
고고학자와 무기 디자이너가 네게브 사막의 고고학적 발굴 현장에서 만나, 사랑과 전쟁에 관한 토론을 시작하고 그들의 대화는 이스라엘 베르셰바에서도 이어진다. 마치 춤과 같은 이야기가 아테네, 베를린, 홍콩 그리고 상파울루로 관객들을 데려간다.
Editor
고고학자와 무기 디자이너가 네게브 사막의 고고학적 발굴 현장에서 만나, 사랑과 전쟁에 관한 토론을 시작하고 그들의 대화는 이스라엘 베르셰바에서도 이어진다. 마치 춤과 같은 이야기가 아테네, 베를린, 홍콩 그리고 상파울루로 관객들을 데려간다.
Director of Photography
고고학자와 무기 디자이너가 네게브 사막의 고고학적 발굴 현장에서 만나, 사랑과 전쟁에 관한 토론을 시작하고 그들의 대화는 이스라엘 베르셰바에서도 이어진다. 마치 춤과 같은 이야기가 아테네, 베를린, 홍콩 그리고 상파울루로 관객들을 데려간다.
Director
고고학자와 무기 디자이너가 네게브 사막의 고고학적 발굴 현장에서 만나, 사랑과 전쟁에 관한 토론을 시작하고 그들의 대화는 이스라엘 베르셰바에서도 이어진다. 마치 춤과 같은 이야기가 아테네, 베를린, 홍콩 그리고 상파울루로 관객들을 데려간다.
Director
A dash of nostalgia, then a shrug and self-irony: The portraits of Berlin subway stations in Berlin [Underground] begin in Schöneberg’s Regenbogenkiez only to evaporate towards Dahlem, the location of the Freie Universität. The western underground academically frittered away. The trees in Argentina are more exciting. And over and over, the unfathomable notebooks of Heinz Emigholz.
Director
Director
The films of pre-eminent documentary filmmaker Heinz Emigholz present the most important architects of the 20th century not through explanation or biography, but by using the camera to reveal the structures that define their art. From Bruce Goff’s churches to Gabriele D’Annunzio’s villas to Robert Maillart’s bridges, each exploratory and contemplative film is dedicated to the work of a single architect; taken together, the series shows us some of the most beautiful buildings of our time.
Editor
The film shows the Antivilla built by Arno Brandlhuber in Potsdam, Krampnitz, between 2010 and 2015. The building has the project number 0131 in the catalog of works by Brandlhuber +. The shooting of Antivilla took place on April 4, 2016 in preparation for the feature film Streetscapes [Dialogue].
Cinematography
The film shows the Antivilla built by Arno Brandlhuber in Potsdam, Krampnitz, between 2010 and 2015. The building has the project number 0131 in the catalog of works by Brandlhuber +. The shooting of Antivilla took place on April 4, 2016 in preparation for the feature film Streetscapes [Dialogue].
Director
The film shows the Antivilla built by Arno Brandlhuber in Potsdam, Krampnitz, between 2010 and 2015. The building has the project number 0131 in the catalog of works by Brandlhuber +. The shooting of Antivilla took place on April 4, 2016 in preparation for the feature film Streetscapes [Dialogue].
Director
죽음과 의식, 인간 관계를 아우르는 주제들에 대한 냉소적인 독백. 마지막 도시의 속편이며 음울하면서 대립적이고 풍자적이다.
Director
2013년부터 2018년에 걸쳐 촬영한 다큐멘터리로, 만하임 쿤스트할레의 한 건물을 허물고 재건하는 과정을 추적한다. 현격히 대비되는 이미지들을 통해 영화는 건축의 역할에 대한 질문을 던지는 동시에 건물이 도시와 어떻게 조화를 이뤄가는지를 살핀다.
Director
A confrontation and comparison of two church buildings, which could hardly be more different, but also a dialogue between various concepts of church and community: the Protestant Grundtvig’s Church in Copenhagen and the Catholic Cathedral in Orvieto.
Editor
The final part of Heinz Emigholz’s "Streetscapes" series is again a triptych. A prologue examines three buildings from the 1930s designed by Julio Vilamajó in Montevideo which could have inspired the work of Eladio Dieste, the subject of the main part of the film. The industrial and functional buildings presented span the period from 1955 to 1994; their organic brick construction is astonishing and inspiring.
Director of Photography
The final part of Heinz Emigholz’s "Streetscapes" series is again a triptych. A prologue examines three buildings from the 1930s designed by Julio Vilamajó in Montevideo which could have inspired the work of Eladio Dieste, the subject of the main part of the film. The industrial and functional buildings presented span the period from 1955 to 1994; their organic brick construction is astonishing and inspiring.
Writer
The final part of Heinz Emigholz’s "Streetscapes" series is again a triptych. A prologue examines three buildings from the 1930s designed by Julio Vilamajó in Montevideo which could have inspired the work of Eladio Dieste, the subject of the main part of the film. The industrial and functional buildings presented span the period from 1955 to 1994; their organic brick construction is astonishing and inspiring.
Director
The final part of Heinz Emigholz’s "Streetscapes" series is again a triptych. A prologue examines three buildings from the 1930s designed by Julio Vilamajó in Montevideo which could have inspired the work of Eladio Dieste, the subject of the main part of the film. The industrial and functional buildings presented span the period from 1955 to 1994; their organic brick construction is astonishing and inspiring.
![Streetscapes [Dialogue]](https://moviedb.kr/index.php/image/w500/2K1nI3Uz37m9o6GbxIIj6FJPb5y.jpg)
Editor
A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.
Cinematography
A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.
Writer
A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.
Director
A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.
![2+2=22 [The Alphabet]](https://moviedb.kr/index.php/image/w500/5hxLZe2Wm0kN2x4oOEHEJoQtJij.jpg)
Writer
Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.
Editor
Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.
Director of Photography
Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.
Producer
Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.
Director
Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.
Editor
The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.
Director of Photography
The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.
Writer
The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.
Director
The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.
Director
Le Corbusier [IIIII] Asger Jorn [Relief] contrasts the Villa Savoye, built by Le Corbusier in 1931, and Asger Jorn’s Grand Relief, which the Danish painter and sculptor produced in 1959 for the Århus Statsgymnasium. The film makes connections between what, according to the ideological stipulations of their creators, does not belong together.
Editor
In the 21st part of his Photography and beyond series, Heinz Emigholz projects as usual a series of structures into our brains and from there on to the screen: Airports, motorways and bus stops; department stores, market halls and warehouses.
Director of Photography
In the 21st part of his Photography and beyond series, Heinz Emigholz projects as usual a series of structures into our brains and from there on to the screen: Airports, motorways and bus stops; department stores, market halls and warehouses.
Director
In the 21st part of his Photography and beyond series, Heinz Emigholz projects as usual a series of structures into our brains and from there on to the screen: Airports, motorways and bus stops; department stores, market halls and warehouses.
Camera Operator
The film juxtaposes/compares two museums: The Museum of Art, Ein Harod, Israel, which Samuel Bickels (1909-1975) built there in 1948, and The Menil Collection in Houston, Texas, built by Renzo Piano (b. 1937) 1986 . The method of natural lighting in Bickels‘s construction was the direct model for Piano, who adopted for his construction at the request of its patroness Dominique de Menil.
Director
The film juxtaposes/compares two museums: The Museum of Art, Ein Harod, Israel, which Samuel Bickels (1909-1975) built there in 1948, and The Menil Collection in Houston, Texas, built by Renzo Piano (b. 1937) 1986 . The method of natural lighting in Bickels‘s construction was the direct model for Piano, who adopted for his construction at the request of its patroness Dominique de Menil.
Director
Kreidler and Heinz Emigholz complete their joint music video series with WINTER, pulling material from Emigholz's SCHENEC-TADY III.
Director
Lauded artist-filmmaker Heinz Emigholz (Schindler's Houses) offers an exquisite excursus on the work of pioneering French architect Auguste Perret, including privileged views of his innovative concrete structures in Algeria and such magnificent landmarks as Paris' Art Deco Théâtre des Champs Elysées. (TIFF)
Director
The third autobiography in the series deals with modern architecture. For the grand finale, he covers a broad historical spectrum: Parabeton tells of the great Roman concrete buildings from the start of the Common Era and compares them with Pier Luigi Nervi’s work, the Italian master of concrete construction. As concrete can be made into many different shapes, the buildings and the domes, slopes and spiral staircases they contain have an innovative, seminal quality. Those familiar with Emigholz's work will note that the skewed camera angles used in the past are replaced by straight-on views. Moreover, the ancient constructions seem more dynamic than those of the last century. Almost devoid of people, the images we know from his preceding films make the ruins from the 1930s to the 70s, the familiar cement constructions of daily life with their play of light and shadow or even the Pope’s Audience Hall appear more ghostly than the famous sights of the ancient world.
Writer
A Series of Thoughts consists of four shorts: EL GRECO IN TOLEDO, LEONARDOS TRÄNEN, AN BORD DER USS TICONDEROGA and EIN MUSEUMSBAU IN ESSEN.
Director
A Series of Thoughts consists of four shorts: EL GRECO IN TOLEDO, LEONARDOS TRÄNEN, AN BORD DER USS TICONDEROGA and EIN MUSEUMSBAU IN ESSEN.
Director
A passage through modern civilised life by way of 42 architectural projects in Austria and elsewhere. From a church belfry to a kindergarten, pharmacy, housing project etc. and finally to a crematorium and adjoining columbarium. A minimalist twentieth-century epic.
Edgar
Lucy, a privileged North American in contemporary Berlin, living a life of post Punk hedonism, roams the streets with her best friend, Derek. Together they use the city like a playground, a stage, and a never ending party. Into their lives enters Galia, a young Israeli woman carrying the promise of a better, cleaner way of living. A tribute to Punk underground films turns into a melodrama in "Saturn Returns", mirroring Lucy and Galia's modulating states of mind. Our and their look into each other's life and culture, becomes an investigation of empty facades. The film was constructed by both improvised and pre-scripted scenes, as required by the nature of each scene.
Director
A 1908 essay by Adolf Loos is here read by the incomparable Carola Regnier and set to virtual photographs of 18th-century marble inlays at St. John’s Cathedrale in Valletta, Malta.
Writer
The film explores two projects by Austrian artist and visionary Frederick Kiesler (1890–1965): the model for ENDLESS HOUSE (1959) that is currently exhibited at the Kiesler Foundation in Vienna and THE SHRINE OF THE BOOK designed and built by Frederick Kiesler and Armand Bartos in Jerusalem (1959-65).
Director
The film explores two projects by Austrian artist and visionary Frederick Kiesler (1890–1965): the model for ENDLESS HOUSE (1959) that is currently exhibited at the Kiesler Foundation in Vienna and THE SHRINE OF THE BOOK designed and built by Frederick Kiesler and Armand Bartos in Jerusalem (1959-65).
Director
One of the pioneers of the European Modernism in architecture, Adolf Loos turned against building ornamentation, triggering a controversy in architectural theory. His development of a spatial plan launched a new approach to thinking about building spaces. His houses, furniture, facades, and monuments were constructed between 1899 and 1931 and represent a refreshing approach to modern architecture.
Director
Both a beguiling meditation on the aesthetic of a city and a loving tribute to a great architect, Heinz Emigholz's documentary examines urban Los Angeles through the houses of Austrian-American architect Rudolph Schindler. Eschewing the documentary conventions of voice-over narration and archival photos, Emigholz mixes artfully composed images of more than 40 Schindler creations with an ambient soundscape to produce a singular viewing experience.
Director of Photography
Heinz Emigholz, the premiere purveyor of architectural oddities (Sullivan's Bridges, Goff in the Desert), meticulously documents 15 rooms of the enormous Villa Cargnacco in Lombardy, Italy, designed by proto-fascist poet Gabriele D'Annunzio (1863-1938). The controversial figure spent 17 years designing the Vittoriale, a state museum on Lake Garda, and furnishing the Villa Cargnacco, which is part of the grand complex. This unusual documentary resulted from a photography session in the villa, when four friends--cinematographers Irene von Alberti, Elfi Mikesch, Klaus Wyborny and Heinz Emigholz--simultaneously filmed the rooms and furnishings of the villa in their own specific styles.
Writer
Heinz Emigholz, the premiere purveyor of architectural oddities (Sullivan's Bridges, Goff in the Desert), meticulously documents 15 rooms of the enormous Villa Cargnacco in Lombardy, Italy, designed by proto-fascist poet Gabriele D'Annunzio (1863-1938). The controversial figure spent 17 years designing the Vittoriale, a state museum on Lake Garda, and furnishing the Villa Cargnacco, which is part of the grand complex. This unusual documentary resulted from a photography session in the villa, when four friends--cinematographers Irene von Alberti, Elfi Mikesch, Klaus Wyborny and Heinz Emigholz--simultaneously filmed the rooms and furnishings of the villa in their own specific styles.
Director
Heinz Emigholz, the premiere purveyor of architectural oddities (Sullivan's Bridges, Goff in the Desert), meticulously documents 15 rooms of the enormous Villa Cargnacco in Lombardy, Italy, designed by proto-fascist poet Gabriele D'Annunzio (1863-1938). The controversial figure spent 17 years designing the Vittoriale, a state museum on Lake Garda, and furnishing the Villa Cargnacco, which is part of the grand complex. This unusual documentary resulted from a photography session in the villa, when four friends--cinematographers Irene von Alberti, Elfi Mikesch, Klaus Wyborny and Heinz Emigholz--simultaneously filmed the rooms and furnishings of the villa in their own specific styles.
Editor
The film shows thirty-eight of Heinz Emigholz's notebooks and sketchbooks from 1996 to 2004: cinematic studies of marble inlays on the memorial slabs in the Johannes Cathedral in Valetta, Malta in 2004; of Skull Rock in Joshua Tree Desert in California, which gave the series its title; of Cerro Castellan in Big Bend National Park in Texas; of a rock shop in Quartzsite, Arizona that sells remnants from the glass factory in Henryetta as "gems from Mexico"; scenes from Bartlesville in Oklahoma; a tree covered with shoes on Highway 62 in California in 2002; and, in Gabriele D'Annunzio's Villa Cargnacco in Gardone, Italy in 1997, the mask merchant's room, the reliquary room, the workshop, the globe room, the Apollinian veranda, the room of the Cheli, and the Zambracca.
Cinematography
The film shows thirty-eight of Heinz Emigholz's notebooks and sketchbooks from 1996 to 2004: cinematic studies of marble inlays on the memorial slabs in the Johannes Cathedral in Valetta, Malta in 2004; of Skull Rock in Joshua Tree Desert in California, which gave the series its title; of Cerro Castellan in Big Bend National Park in Texas; of a rock shop in Quartzsite, Arizona that sells remnants from the glass factory in Henryetta as "gems from Mexico"; scenes from Bartlesville in Oklahoma; a tree covered with shoes on Highway 62 in California in 2002; and, in Gabriele D'Annunzio's Villa Cargnacco in Gardone, Italy in 1997, the mask merchant's room, the reliquary room, the workshop, the globe room, the Apollinian veranda, the room of the Cheli, and the Zambracca.
Writer
The film shows thirty-eight of Heinz Emigholz's notebooks and sketchbooks from 1996 to 2004: cinematic studies of marble inlays on the memorial slabs in the Johannes Cathedral in Valetta, Malta in 2004; of Skull Rock in Joshua Tree Desert in California, which gave the series its title; of Cerro Castellan in Big Bend National Park in Texas; of a rock shop in Quartzsite, Arizona that sells remnants from the glass factory in Henryetta as "gems from Mexico"; scenes from Bartlesville in Oklahoma; a tree covered with shoes on Highway 62 in California in 2002; and, in Gabriele D'Annunzio's Villa Cargnacco in Gardone, Italy in 1997, the mask merchant's room, the reliquary room, the workshop, the globe room, the Apollinian veranda, the room of the Cheli, and the Zambracca.
Writer
A meditation on ruins and remains linked strongly to the US chapters of Photography and Beyond. A rumination on a nation and dream in tatters. A cautious reminder of ever-lurking horrors: a glimpse of the warship Puglia, not far from the sarcophagus containing the mortal remains of Gabriele d'Annunzio.
Director
A meditation on ruins and remains linked strongly to the US chapters of Photography and Beyond. A rumination on a nation and dream in tatters. A cautious reminder of ever-lurking horrors: a glimpse of the warship Puglia, not far from the sarcophagus containing the mortal remains of Gabriele d'Annunzio.
Director
The film shows thirty-eight of Heinz Emigholz's notebooks and sketchbooks from 1996 to 2004: cinematic studies of marble inlays on the memorial slabs in the Johannes Cathedral in Valetta, Malta in 2004; of Skull Rock in Joshua Tree Desert in California, which gave the series its title; of Cerro Castellan in Big Bend National Park in Texas; of a rock shop in Quartzsite, Arizona that sells remnants from the glass factory in Henryetta as "gems from Mexico"; scenes from Bartlesville in Oklahoma; a tree covered with shoes on Highway 62 in California in 2002; and, in Gabriele D'Annunzio's Villa Cargnacco in Gardone, Italy in 1997, the mask merchant's room, the reliquary room, the workshop, the globe room, the Apollinian veranda, the room of the Cheli, and the Zambracca.
Director
In this creative documentary, filmmaker Heinz Emigholz presents a series of filmed photographs of the work of the exceptionally inventive American architect Bruce Goff (1904-1982), who was apprenticed at age 12 but never formally educated as an architect. His work, mostly churches and private homes, displays a unique style that sets it apart from most 20th century architecture. The Episcopal Church in Tulsa built in the 1920s is a towering Art Deco icon, while the Hopewell Baptist Church in Edmond resembles a strange futuristic concrete teepee challenging the landscape. Bruce Goff is the great unknown of an original American form of architecture. Through his photo-driven style, Emigholz brilliantly exposes details of Goff's structures that might otherwise be missed, making these fascinating artifacts even more intriguing.
Writer
Studies on 35 mm color film from 1988 to 1997.
Director
Studies on 35 mm color film from 1988 to 1997.
Writer
Studies on 35mm b/w film from 1988 to 1997.
Director
Studies on 35mm b/w film from 1988 to 1997.
Editor
Sixty-nine of Heinz Emigholz's illustrated notebooks from 1983 to 1996, three sketch books from the 80s and 90s, and cinematic studies of his exhibition "Der Untergang der Bismarck" at the Zwinger Gallery, Berlin 1988, a castle moat in Riva, Italy 1997, a casting of Aguste Rodin's "The Gates of Hell" in front of the Kunsthaus in Zürich 1988, an olive grove near Norma in Italy 1995, a magnolia tree in Basle 1996, burnt meat at Cabo de Creus in the Pyrennees 1988, an intersection in Owatonna, Minnesota 1995, and a house underpass in Giesshübelstrasse, Zurich 1996. In addition, there are 184 drawings from the series "Die Basis des Make-Up" as positives and negatives.
Cinematography
Sixty-nine of Heinz Emigholz's illustrated notebooks from 1983 to 1996, three sketch books from the 80s and 90s, and cinematic studies of his exhibition "Der Untergang der Bismarck" at the Zwinger Gallery, Berlin 1988, a castle moat in Riva, Italy 1997, a casting of Aguste Rodin's "The Gates of Hell" in front of the Kunsthaus in Zürich 1988, an olive grove near Norma in Italy 1995, a magnolia tree in Basle 1996, burnt meat at Cabo de Creus in the Pyrennees 1988, an intersection in Owatonna, Minnesota 1995, and a house underpass in Giesshübelstrasse, Zurich 1996. In addition, there are 184 drawings from the series "Die Basis des Make-Up" as positives and negatives.
Writer
Sixty-nine of Heinz Emigholz's illustrated notebooks from 1983 to 1996, three sketch books from the 80s and 90s, and cinematic studies of his exhibition "Der Untergang der Bismarck" at the Zwinger Gallery, Berlin 1988, a castle moat in Riva, Italy 1997, a casting of Aguste Rodin's "The Gates of Hell" in front of the Kunsthaus in Zürich 1988, an olive grove near Norma in Italy 1995, a magnolia tree in Basle 1996, burnt meat at Cabo de Creus in the Pyrennees 1988, an intersection in Owatonna, Minnesota 1995, and a house underpass in Giesshübelstrasse, Zurich 1996. In addition, there are 184 drawings from the series "Die Basis des Make-Up" as positives and negatives.
Director
Sixty-nine of Heinz Emigholz's illustrated notebooks from 1983 to 1996, three sketch books from the 80s and 90s, and cinematic studies of his exhibition "Der Untergang der Bismarck" at the Zwinger Gallery, Berlin 1988, a castle moat in Riva, Italy 1997, a casting of Aguste Rodin's "The Gates of Hell" in front of the Kunsthaus in Zürich 1988, an olive grove near Norma in Italy 1995, a magnolia tree in Basle 1996, burnt meat at Cabo de Creus in the Pyrennees 1988, an intersection in Owatonna, Minnesota 1995, and a house underpass in Giesshübelstrasse, Zurich 1996. In addition, there are 184 drawings from the series "Die Basis des Make-Up" as positives and negatives.
Writer
Famed Swiss architect and artist Robert Maillart was renowned for his concrete bridges; this documentary examines the elegant design of his engineering masterpieces, which, the film argues, embrace both functionality and aesthetics. Instead of following a traditional journalistic structure, director Heinz Emigholz's spellbinding film reads more like ethereal visual poetry, allowing the beauty of Maillart's work to speak for itself.
Director
Famed Swiss architect and artist Robert Maillart was renowned for his concrete bridges; this documentary examines the elegant design of his engineering masterpieces, which, the film argues, embrace both functionality and aesthetics. Instead of following a traditional journalistic structure, director Heinz Emigholz's spellbinding film reads more like ethereal visual poetry, allowing the beauty of Maillart's work to speak for itself.
Director
Emigholz presents the buildings of the great American architect Louis Sullivan (1856–1924). “In everything that men do they leave an indelible imprint of their minds. If this suggestion be followed out, it will become surprisingly clear how each and every building reveals itself naked to the eye; how its every aspect, to the smallest detail, to the lightest move of the hand, reveals the workings of the mind of the man who made it, and who is responsible to us for it.”
Haintz
In the beginning of the 19th century, Johannes Elias Alder is born in a small village in the Austrian mountains. While growing up he is considered strange by the other villagers and discovers his love of music, especially rebuilding and playing the organ at the village church. After experiencing an "acoustic wonder", his eye color changes and he can hear even the most subtle sounds.
Edgar Emigholz
1942년 늦은 여름, 제2차 세계대전이 네 번째 해를 맞이했을 때, 히틀러의 군대는 유럽 대부분과 북 아프리카 일부를 점령했다. 그리고 그들은 두 번째 러시아 공격을 준비 중이었다. 목표는 카스피 해와 코카서스 유전. 이집트에서 큰 공을 세운 제6군은 이탈리아에서 짧은 휴가를 마치고 파울루스 장군의 지휘 아래 스탈린그라드로 진격한다. 스탈린그라드로 향하는 기차 안에서 젊은 중위 한스와 패기 넘치는 롤로는 누가 살아 돌아올지 내기를 한다. 하지만 전선에 도착하자마자 그들은 이제까지의 전투와는 다른 느낌을 받는다. 수많은 전우들이 눈앞에서 죽어나가고 러시아 포로들은 인간 이하의 대접을 받고 있었다. 그래도 조국을 위한 희생이라는 명분 아래 다들 최선을 다해 싸우지만 동료 부상병 에미콜즈를 치료하기 위해 프리츠가 위생병에게 총을 들이대는 바람에 한스와 그의 부하들은 지뢰 제거반에 보내진다. 러시아 포로들과 함께 생활하게 된 그들은 혹독한 추위와 비인간적 대우까지 견뎌야 했다. 패배가 뻔히 보이는 전투에 가차 없이 투입되고 무고한 러시아 시민까지 사살하게 되면서 병사들은 마지막 애국심마저 내려놓게 된다….
Director of Photography
After Roy's demise, five friends try to reconstruct his life by reading through the late editor's notebooks - only to face some very personal demons. The Holy Bunch is a modernist melodrama: beyond-Antonioni in its images, decisively Dreyerian in its spirituality. One of German cinema's few modern (or Modernist) masterpieces.
Screenplay
After Roy's demise, five friends try to reconstruct his life by reading through the late editor's notebooks - only to face some very personal demons. The Holy Bunch is a modernist melodrama: beyond-Antonioni in its images, decisively Dreyerian in its spirituality. One of German cinema's few modern (or Modernist) masterpieces.
Director
After Roy's demise, five friends try to reconstruct his life by reading through the late editor's notebooks - only to face some very personal demons. The Holy Bunch is a modernist melodrama: beyond-Antonioni in its images, decisively Dreyerian in its spirituality. One of German cinema's few modern (or Modernist) masterpieces.
Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.
Director
Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.
Director of Photography
Agatha is an international lawyer, Jo a filmmaker. The two women are lovers. While Jo is on the road showing her films, Agatha discovers and reads her diaries. Problems ensue as Agatha's transgressions lead to jealousy and a spiraling cycle of sexual obsession.
Director
Belgium, 9th october 1979. A cook drills a hole in the door to the "camera obscura" (lat. dark room) of his boss, a persian-american carpet dealer, who lives together with two women and a narcistic drunkard in a dark carpet-cave. All the characters walk a fine line between professional and private life, between dependence and exercise of power trying to save his/her love. Blatant voyeurism rules. The characters mutually spike their feelings whenever possible driving wedges of love into one another's flesh. Masochistoic institution grows out of romance, which portrayal degenerates into a comedy.
Dr. Kraus
Stylized, black and white biography of Frances Farmer by author Lynne Tillman and Sheila McLauglin.
Cinematography
Stylized, black and white biography of Frances Farmer by author Lynne Tillman and Sheila McLauglin.
Editor
Forty-two of Heinz Emigholz's illustratred notebooks from 1974 to 1983, a notebook of Heinrich Emigholz dated 1941, a sketchbook from the 70s, twenty-four photographs from 100 Hudson Street, 240 President Street, 325 West 11th Street, Kleine Reichenstrasse 2, 36 Sherman Street, 236 Elizabeth Street, 29 John Street and Zippelhaus 6. In addition, there are eighty drawings from the series ›Die Basis des Make-Up‹ as positives and negatives.
Cinematography
Forty-two of Heinz Emigholz's illustratred notebooks from 1974 to 1983, a notebook of Heinrich Emigholz dated 1941, a sketchbook from the 70s, twenty-four photographs from 100 Hudson Street, 240 President Street, 325 West 11th Street, Kleine Reichenstrasse 2, 36 Sherman Street, 236 Elizabeth Street, 29 John Street and Zippelhaus 6. In addition, there are eighty drawings from the series ›Die Basis des Make-Up‹ as positives and negatives.
Writer
Forty-two of Heinz Emigholz's illustratred notebooks from 1974 to 1983, a notebook of Heinrich Emigholz dated 1941, a sketchbook from the 70s, twenty-four photographs from 100 Hudson Street, 240 President Street, 325 West 11th Street, Kleine Reichenstrasse 2, 36 Sherman Street, 236 Elizabeth Street, 29 John Street and Zippelhaus 6. In addition, there are eighty drawings from the series ›Die Basis des Make-Up‹ as positives and negatives.
Director
Forty-two of Heinz Emigholz's illustratred notebooks from 1974 to 1983, a notebook of Heinrich Emigholz dated 1941, a sketchbook from the 70s, twenty-four photographs from 100 Hudson Street, 240 President Street, 325 West 11th Street, Kleine Reichenstrasse 2, 36 Sherman Street, 236 Elizabeth Street, 29 John Street and Zippelhaus 6. In addition, there are eighty drawings from the series ›Die Basis des Make-Up‹ as positives and negatives.
Voice at telephone
A woman on a train.
Editor
An experimental German film
Writer
An experimental German film
Director
An experimental German film
An experimental German film
Part 3 of "3 Miniatures after Melanie Klein"
Narrator (voice)
A German short film
Director
DEMON, subtitled „The Translation of Stéphane Mallarmé´s THE DEMON OF ANALOGY“, includes the Mallarmé text, spoken by various performers in its original French version, and in English and German as well.
Most of the shots in the film are one word long. In the first scene, three women sit on chairs placed in the foreground of a room and a corps of men stands behind them, spread out over the rest of the space. The woman who is seated in the middle of the three speaks the first word of the Mallarmé text in her particular language with the men arranged behind her; there is a cut, another woman sits in the middle, speaking the first word of the text in her, different language with the men in a new arrangement behind her, cut, another in her language, then back to the first for the next word of the text. From this point on although the poem progresses forward in all three languages the order of shots - French word, English word, German word, doesn´t remain fixed.
A German TV movie
Director
Short film by Heinz Emigholz shot in 1976; b/w, sound, no dialogue
Director
With Marcia Bronstein and Silke Grossmann. Hamburg, Wandsbek-Gartenstadt, May 1976.
Director
Short experimental film from Heinz Emigholz, shot in 1976; sound, no dialogue. Damn fine cup of coffee.
Writer
Experimental short.
Director
Experimental short.
Adaptation of the novel "Bartleby the Scrinener: A story of Wall Street" (1853) by Hermann Melville.
Director
Emigholz disrupts the linear narrative via editing, and then reconnects the shots based on recognizable patterns. In doing so, he brings new meaning to the images.
Writer
Experimental short.
Director
Experimental short.
Director
Director
Experimental short.
Director
Experimental short about some stairs.
Writer
Experimental short.
Director
Experimental short.
Writer
Experimental short.
Director
Experimental short.
