Luise Donschen

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.

Hovering between the commonplace and the mysterious, ELLE follows a father and daughter on an early spring visit to the Kyoto Botanical Gardens. At once highly formal and thrumming with life, the liminal space of the Garden becomes the stage for a series of fleeting encounters, which director Luise Donschen explores with a precise sensitivity to the seen and the unseen.

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.

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.

Фильм представляет собой набор различных малосвязанных друг с другом ситуаций. Вот в кадре стоит человек в причудливом карнавальном костюме. Вот в осеннем лесу играют дети. Далее нам показывают разговор с Джоном Малковичем, который тот ведёт от лица Казановы. Этот фильм о чувствах.

Фильм представляет собой набор различных малосвязанных друг с другом ситуаций. Вот в кадре стоит человек в причудливом карнавальном костюме. Вот в осеннем лесу играют дети. Далее нам показывают разговор с Джоном Малковичем, который тот ведёт от лица Казановы. Этот фильм о чувствах.

Фильм представляет собой набор различных малосвязанных друг с другом ситуаций. Вот в кадре стоит человек в причудливом карнавальном костюме. Вот в осеннем лесу играют дети. Далее нам показывают разговор с Джоном Малковичем, который тот ведёт от лица Казановы. Этот фильм о чувствах.

Фильм представляет собой набор различных малосвязанных друг с другом ситуаций. Вот в кадре стоит человек в причудливом карнавальном костюме. Вот в осеннем лесу играют дети. Далее нам показывают разговор с Джоном Малковичем, который тот ведёт от лица Казановы. Этот фильм о чувствах.

Фильм представляет собой набор различных малосвязанных друг с другом ситуаций. Вот в кадре стоит человек в причудливом карнавальном костюме. Вот в осеннем лесу играют дети. Далее нам показывают разговор с Джоном Малковичем, который тот ведёт от лица Казановы. Этот фильм о чувствах.

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.

While my father created a picture archive of my childhood, my grandmother destroyed the family photo albums just before her death. Stuck between these extremes, I venture out to question old pictures, produce new ones and find a perspective. My journey takes me to East Berlin, Poland and through Hamburg. This documentary deals with the shape of memory, the ease of forgetting and last not least, making films.