Director of Photography
In the film, Klopfenstein portrays a metaphorical renovation of the burned-down church of his past in and with cinema. As tools, he merely has his computer and files of his own films, as well as masses of faces long gone and places razed from memory. One drifts deliciously with Klopfenstein through a super-edit of his own oeuvre, removed from established modes of this type of filmmaking and instead functioning in an intimate and poignant expression, where fleeting gestures can unleash avalanches of unexpected memories.
Writer
In the film, Klopfenstein portrays a metaphorical renovation of the burned-down church of his past in and with cinema. As tools, he merely has his computer and files of his own films, as well as masses of faces long gone and places razed from memory. One drifts deliciously with Klopfenstein through a super-edit of his own oeuvre, removed from established modes of this type of filmmaking and instead functioning in an intimate and poignant expression, where fleeting gestures can unleash avalanches of unexpected memories.
Producer
In the film, Klopfenstein portrays a metaphorical renovation of the burned-down church of his past in and with cinema. As tools, he merely has his computer and files of his own films, as well as masses of faces long gone and places razed from memory. One drifts deliciously with Klopfenstein through a super-edit of his own oeuvre, removed from established modes of this type of filmmaking and instead functioning in an intimate and poignant expression, where fleeting gestures can unleash avalanches of unexpected memories.
Director
In the film, Klopfenstein portrays a metaphorical renovation of the burned-down church of his past in and with cinema. As tools, he merely has his computer and files of his own films, as well as masses of faces long gone and places razed from memory. One drifts deliciously with Klopfenstein through a super-edit of his own oeuvre, removed from established modes of this type of filmmaking and instead functioning in an intimate and poignant expression, where fleeting gestures can unleash avalanches of unexpected memories.
Cinematography
An experimental conclusion to Klopfensteins trilogy of walk-and-talk philosophical films, presented mostly in negative black-and-white pictures
Screenplay
An experimental conclusion to Klopfensteins trilogy of walk-and-talk philosophical films, presented mostly in negative black-and-white pictures
Director
An experimental conclusion to Klopfensteins trilogy of walk-and-talk philosophical films, presented mostly in negative black-and-white pictures
Director
Dois atores veteranos decidem ir à busca do seu antigo diretor com a intenção de convencê-lo a fazer um novo filme, um filme violento, com mulheres bonitas, a ser rodado na África. A produção seria a sequela de um filme de sucesso que fizeram 10 anos atrás, O Silêncio dos homens. Depois de enfrentar uma série de incidentes infelizes em busca do cineasta, os atores o acham, mas não consegue convencê-lo a aceitar a ideia. No entanto, ambos estão persuadidos de fazer um filme diferente intitulado Os pregadores de pássaros. Vestidos como monges eles entram em uma floresta, um verdadeiro labirinto, mas não demoraram muito para descobrir que, de fato, tenham caído em uma armadilha: o diretor desaparece, e os velhos atores ficam perdidos, sem saber como encontrar o caminho de volta.
Cinematography
A group of actors making their way to Rome ends up losing its way due to the fog, the darkness, the ice and their own feelings of guilt, suddenly getting completely lost in the hills.
Screenplay
A group of actors making their way to Rome ends up losing its way due to the fog, the darkness, the ice and their own feelings of guilt, suddenly getting completely lost in the hills.
Director
A group of actors making their way to Rome ends up losing its way due to the fog, the darkness, the ice and their own feelings of guilt, suddenly getting completely lost in the hills.
Director
Philosophical road movie with Max Rüdlinger and Polo Hofer. First they go hiking in the Swiss mountains, then Max is off to Italy where he meets two lovely ladies, one of which accompanies him to Egypt, where they meet Polo Hofer.
Director
A sequel to Klopfenstein's movie "E nachtlang Füürland" (1981).
Director
Director
Collection of documentary shorts by various acclaimed directors
Writer
Max and Chrige, a married couple of Swiss linguists, hike the Alps searching for rare words still uttered by the rural population. While on his way to a conference, the husband's plane disappears over the sea. Chrige is advised to give up hope of ever seeing him alive, but her heart tells her otherwise. Max comes ashore on a tropical island with another survivor, the plane's pilot. But where are they in reality?
Director of Photography
Max and Chrige, a married couple of Swiss linguists, hike the Alps searching for rare words still uttered by the rural population. While on his way to a conference, the husband's plane disappears over the sea. Chrige is advised to give up hope of ever seeing him alive, but her heart tells her otherwise. Max comes ashore on a tropical island with another survivor, the plane's pilot. But where are they in reality?
Director
Max and Chrige, a married couple of Swiss linguists, hike the Alps searching for rare words still uttered by the rural population. While on his way to a conference, the husband's plane disappears over the sea. Chrige is advised to give up hope of ever seeing him alive, but her heart tells her otherwise. Max comes ashore on a tropical island with another survivor, the plane's pilot. But where are they in reality?
Director of Photography
Heavily improvised fairy-tale voyage in Italy involving a bickering Swiss couple and a magic liqueur.
Writer
Heavily improvised fairy-tale voyage in Italy involving a bickering Swiss couple and a magic liqueur.
Director
Heavily improvised fairy-tale voyage in Italy involving a bickering Swiss couple and a magic liqueur.
Screenplay
Images of Berlin, the Silesian Gate – last underground station before the wall, the suburb of Asakusa, Tokyo, and of Hong Kong, from the tram in Kowloon are mixed together with studies of the director’s room in Berlin, accompanied by westernized Chinese music.
Editor
Images of Berlin, the Silesian Gate – last underground station before the wall, the suburb of Asakusa, Tokyo, and of Hong Kong, from the tram in Kowloon are mixed together with studies of the director’s room in Berlin, accompanied by westernized Chinese music.
Cinematography
Images of Berlin, the Silesian Gate – last underground station before the wall, the suburb of Asakusa, Tokyo, and of Hong Kong, from the tram in Kowloon are mixed together with studies of the director’s room in Berlin, accompanied by westernized Chinese music.
Director
Images of Berlin, the Silesian Gate – last underground station before the wall, the suburb of Asakusa, Tokyo, and of Hong Kong, from the tram in Kowloon are mixed together with studies of the director’s room in Berlin, accompanied by westernized Chinese music.
Producer
A contemplation on night travelling in various weather conditions through seemingly endless landscapes in Europe, only briefly disrupted by shreds of conversation in a foreign language.
Director
A contemplation on night travelling in various weather conditions through seemingly endless landscapes in Europe, only briefly disrupted by shreds of conversation in a foreign language.
Writer
In Bern, a confluence of events forces Max, a radio commentator, to face the personal sense of frustration he feels in politics, his job and his relationship. A veteran of the ’68 generation, he confronts the demise of that utopian dream, breaking the bonds of his dreary existence during one night.
Director
In Bern, a confluence of events forces Max, a radio commentator, to face the personal sense of frustration he feels in politics, his job and his relationship. A veteran of the ’68 generation, he confronts the demise of that utopian dream, breaking the bonds of his dreary existence during one night.
Production Manager
It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.
Cinematography
It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.
Editor
It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.
Writer
It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.
Director
It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.
