Globe-trotters, eccentrics and wandering souls. Whether they are accompanied by a camera or not, they make us look at the world around us in new ways. From a cab in Teheran via the Mongolian steppes to the streets of Berlin.
A Thirsty Man
AMIR SHABAB RAZAVIAN (IRAN 2002, VIDEO, 3:OO MIN)
Mr. Mahichi, an old man and protagonist in films that have been shown at various film festivals, is thirsty now. His natural thirst is removed through drinking of juices and, on the other hand, he likes to speak with women.
Die Motten zum Licht
MATTHIAS FRITSCH (GERMANY 2004, VIDEO, 17:50 MIN)
At night moths orient themselves to the moon. Mesmerized by the light, they circle for hours around a lantern. Also, our reality is very dependent on our perspective on things. Motten zum Light is a cinematic journey in worlds of full poetry. Filmed in, amongst others, Sibiria, Mongolia and ltaly.
GEORGE KUCHAR (USA 2003, VIDEO, 18:00 MIN)
Alone in an Oklahoma motel room with a mute companion, the talkative one speaks the language of memory as pussycats feast from a canned cornucopia. Murals plaster the vacancy intrinsic to American angst and horse tails whip from annoyance the nagging gnats of tomorrow ‘s dung.
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ROGER ATASI (FRANCE 2003, VIDEO, 102 MIN)
With a good sense of self-irony Peruvian emigrant Roger Atasi infiltrates an alternative Hollywood film. While inside Harvey Keitel en Jim Jarmusch have their cosy chat, Roger Atasi is outside fighting to survive.
Public Space: Give Me a Kiss
OU NING & CAO FEI (CHINA 2002, VIDEO, 5,00 MIN)
This middle-aged man is seen along this road almost every evening doing some bizarre body exercises. The road is his stage; the head lights his lighting; the passers-by are his audience. Thus, he becomes the owner of this public space, and then the whole city. .. His pursuit of pleasure brings us pleasure too.
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ANNA STEININGER (AUSTRIA 2003, VIDEO, 30:00 MIN)
In subjective takes, a shaky hand-held camera shows repetitions of walks through various street corners of a city. The view is aimed forward in walking direction and brushes by parked cars, children, bicyclists, and passers-by coming towards the camera. The woman behind the video camera tells why she is making this seemingly insignificant shots. A dense monologue unravels that leads into the woman’s universe, but also goes beyond her autobiographical depiction to reflect on the production and significance of images.