DIE GLEICHZEITIGKEIT DES ANDEREN, Marcel Andersen (NL), VHS, (min. Inner duality, the difference between rational and emotional experience. A personal reverie, interrupted by reality and feelings of doubt. “The words I speak, of which I hope that they are mine, doubt has crept in and my gesture as an expression of feeling does not find its way back.
SOLOW, Stanislaw Was (UK), 8mm, 9 min. This autobiographical work takes a fresh look at the life of the first generation Poles in England. It ironically sheds light on a world view formed by Slavic and Catholic influences.
ACCIDIE, Stanislaw Was (UK), 8mm, 9 min Accidie: an abnormal mental state characterized by listlessness, fatigue and lack of interest in the outside world. This word was used to describe the mental exhaustion of retired living monks.
TOTENTANZ 3, Michael Brynntrup (BRD), 16mm
TOTENTANZ 8, DIE BOTSCHAFT, Michael Brynntrup (BRD), 16mm, together 15 min. * See notes.
YES, NO, I DON’T KNOW, Jean-René Chapron (Fr.), U-MATIC, 5 min. Images that seem less innocent than the music. A questionable video.
DER NARRATIVE FILM, Ulrich Sappok (BRD), 8mm, 4 min. “The film has just been made; it’s right here next to me. I’ll send it right away, because tomorrow I probably won’t have the courage to do it anymore. A few years ago. I would have laughed myself to death in the cinema about such a film …. Get rid of it! ” (Ulrich Sappok).
ELECTRIC KAMA SUTRA, Cathy Vogan (Fr.), U-MATIC, 3 min. Dance and video are combined in a video about the relationship of contemporary man and the technology of everyday life, inspired by the sacred Indian book “De Kama Sutra”.
YES, HELLO !, Barbara Lazar (AU), U-MATIC, 3 min. “Yes, hello!” is an attempt to further clarify the decoupling of body and space made possible by the electronics by means of specific video means.
ENDSPIEL, Martin Rautenberg (FRG), U-MATIC, 12 min. The archetypal German (“Bier, Bockwurst Bumsen so muB es sein”) is not having his day and his wife has to pay for it. A Master of the Universe comes to the rescue, but comes like mustard after a meal.
Michael Brynntrup, experimental filmmaker in Berlin has now a large number of films to his name and is slowly but surely starting to become more famous. A remarkable part of Brynntrup’s oeuvre is his cycle of eight “Totentanzen”. Although death is represented throughout Brynntrup’s oeuvre, nowhere is it more evident than in his Totentanzen. In it he systematically brings death among people in the form of the human skull. The Totentanzen were originally all filmed on Super-8 and usually consist of multiple image layers. They are often spontaneous, beautifully filmed and provided with a compelling soundtrack. Parts 3, 5, 6 and 8 of the total cycle were shown.