A short film by Maria Lassnig, shot in 1970.
A portrait of the Austrian avant-garde artist Otto Mühl/Muehl (1925-2013), whose work combined sex, violence, gastronomy and bodily effluence with unbridled abandon.
Himself
Documentary satire about a project by Christoph Schlingensief: Ten years after his TV project "Talk 2000", Schlingensief started to work on a new talk show – at least that was what he claimed. But in reality, it was obvious that the pilot episodes he produced would never be broadcasted. Nevertheless, all celebrities from the political and cultural sphere, Schlingensief had requested, accepted his invitation, including the filmmaker Oskar Roehler, the televangelist Jürgen Fliege, the politician Claudia Roth, or the rapper Sido. It is beyond question, that the talk show panel took an unconventional course directly from the start – and was soon threatening to turn into an uproar.
Himself
Retrospective on Hermann Nitsch. A 4-Hour overview of his Actions from 1962-2003, as well as an interview from 2005.
himself
A casual, personal portrait of Hermann Nitsch, made with footage I took over the many years of our friendship. Footage includes early performances in New York, images of Hermann shortly after the acquisition of the Prinzendorf monastery, which since has become his main space of activity. You also see Hermann with his Vienna, New York, and Napoli friends, Peter Kubelka, Raimund Abraham, Gunther Brus, George Maciunas, Giuseppe Morra, and others.
Director
Nitsch's work, which can be considered both ritualistic and existential, first drew attention in the early 1960s when he exhibited a skinned and mutilated lamb. The lamb was crucified against a white fabric-covered wall, with the entrails removed and displayed below a white table, splashed with blood and hot water. Currently his work is often discussed in the context of our cultures fixation with violence seen on the news, movie screens, and in popular video games. Correlations have also been drawn to many instances of the intersection of violence and culture. These performance works, which have become known as "actions" have become more and more elaborate over the years.
Self - Archival Footage
Based on slides shot in 1978 of the Austrian aktion artist Hermann Nitsch. Put away for 24 years, the color transparencies are spread out on a light table. The images are examined with a macro lens and captured with digital video. Not so much a reconstruction, or documentary of an event but a process of re-imagining. A hundred frames record a 12-hour, noon to midnight performance in an Roman amphitheatre in the center of Trieste in Northern Italy. Hermann Nitsch has been creating his unique rituals since the early 1970’s. The blood flows over naked bodies strapped on crosses, carried blindfolded, senses are tweaked with percussion sounds and blaring brass instruments. Religious iconography, operatic orchestrations of cast, crew, friends, and the public who eat, dance, drink.
Self
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
Self
Filmmaker Jonas Mekas films 160 underground film people over four decades.
Music
Filmmaker Jonas Mekas films 160 underground film people over four decades.
Self
«Фильм состоит из 124 коротких скетчей, каждый продолжительностью от полминуты до примерно двух минут. Портреты людей, с которыми я провел время, мест, времен года, погоды (штормы, снегопады, метели и так далее). Многое о моих друзьях кинематографистах - улицы и парки Нью-Йорка - короткий побег на природе, за город - ничего зрелищного, неважного праздника жизни, который к настоящему времени прошел, и остается только в качестве записи в этих личных кратких набросках...» Йонас Мекас.
Biopic of tragic Schlager singer Drafi Deutscher.
Himself
The film is arranged in six chronologically-ordered parts, each filmed in a different location during Oona's third year.
“Before the eyes of all, at least of those present, the naked and direct exhibitions of the body take place with all its extensions; but the naked eye of the spectators who circle is promptly doubled by the many mechanical or electronic eyes of the photographic equipment and of the 'cameras' which, with their clicks and their tenacious buzzing, form the background” Renato Barilli
Director
Experimental film depicting military service in a grotesque way.
