GENDERATION (Monika Treut)

Editor for GENDERATION
Written, directed and produced by Monika Treut

Monika Treut’s Gendernauts was one of the first films to portray the transgender movement in San Francisco. Twenty years after the film screened in Panorama in 1999, Treut seeks out the pioneers of that time. What has changed? How have the lives of the protagonists evolved? San Francisco was once, as Annie Sprinkle puts it, the “clitoris of the USA”, but today the tech industry has a firm grip on the city. Aggressive gentrification has displaced the genderqueer community of yesteryear. Under the Trump administration, hard-won transgender rights are under massive pressure as protection against discrimination in healthcare and freedom of choice in the use of public toilets are rolled back.
Alternating between quiet, unobtrusive images and flashbacks, the film delineates how the gendernauts have grown into their identities over the years, developed their careers and started families, and how their energy continues to have an impact today. Their activism has changed over time, but the struggles continue. New perspectives have been added – such as the relationship between humankind and nature in the Anthroprocene epoch – but also the question of how they want to live in old age.

 


ORDINARY CREATURES / Trailer (Thomas Marschall)

„Keep your eyes on the road, your hands upon the wheel“, Martha and Alex should have taken Jim Morrison’s advice to heart, but on their car ride through an idyllic landscape they are primarily occupied with themselves. Only when real life comes crashing into their small self-involved world in the shape of a little dog and its grim owner, do things get set in motion – more than they could have asked for. A devious road movie full of hefty surprises.

Ordinary Creatures – ab 26. Februar im Kino R: Thomas Marschall, Österreich 2020

 


IT’S MORNING (Led Bib)

 

 

Documentary about Led Bib ‘It’s Morning’, and it’s accompanying film.

Edited by – Angela Christlieb

Music by – Led Bib


XXX LIVE NUDE GIRLS (Jennifer Walshe / Klangforum Vienna)


SPIELER / Trailer (Katharina Copony)

Rustem ist Spieler, sein Job und seine Passion Poker. Zwei Stunden genügen dem 25-Jährigen, um online bis zu 300 Turniere zu absolvieren. In jeder Sekunde und mit jedem Click fällt dann eine Entscheidung: 60 mal Risiko pro Minute. Mit Glück habe das Spiel wenig zu tun, heißt es. Was zählt seien Selbstvertrauen, Zahlentalent und eben Disziplin.

Im verdunkelten Wohnraum folgt die Kamera Rustems eigenwillig isoliertem Handwerk. Nur der Schein des Laptops trotzt dem Schwarz – gleich einem Sinnbild für die vermeintliche Anonymität des Internets. Zwischen momenthaftem Glamour und Klischee, schnell erspielten Geldsummen, Mikrowellenburger und Feierabend-Longdrink artikuliert sich aber auch Rustems Sehnsucht nach Öffentlichkeit, dem Ruhm eines Pius Heinz, nach direkter Konfrontation. Mit dem Protagonisten dringt der Kamerablick also zunehmend in die reale Pokerwelt vor – in verrauchte Hinterzimmer und artifiziell dekorierte (Provinz-)Casinos. Dort streift er über gigantische Tischensembles, beobachtet das Ballett der Karten und die Bewegungsabläufe beim Austausch von Jetons und Vermögen.

Katharina Copony artikuliert eine filmische Übersetzung für die eigenwillige Routine und forcierte Emotionslosigkeit in den virtuellen und den realen Pokerhallen – für ein Spiel, das sich in den Alltag fortschreibt und nicht mit dem jeweiligen Turnier endet. Dabei ist SPIELER weder sensationsgieriges Gewinnerporträt noch kanonisierte Glücksspielkritik. Über die poetische Offerzählung vermittelt sich die Geschichte von einem Leben in Gemeinschaft, in der jede/r doch nur für sich agiert. Dazu stimmig zoomt die Kamera gegen Ende des Films noch einmal in die Computerwelten von „Mafia 2“. Hier wie da regiert das Gesetz des Stärkeren, virtuelle Realität und Wirklichkeit verschwimmen. Allein gegen alle, immer im Spiel.

– ab 12.10.2014 im ö. Kino und auf www.flimmit.com online!


ENDLICH WELTUNTERGANG (Barbara Gräftner)

Trailer ENDLICH WELTUNTERGANG

Satire. Österreich 2012. 90 Minuten.

Regie: Barbara Gräftner
Mit: Christian Strasser, Peter Pertusini, Daniela Golpashin

Schnitt: Angela Christlieb

Ein Filmteam plant eine Dokumentation über den Weltuntergang. Was sie jedoch nicht wussten: Ihr persönlicher Survival-Experte ist schlimmer als jede potentielle Apokalypse. Spaßige Satire von den Machern von Echte Wiener 2 und Friday Night Horror.

Filmstart: 14. Dezember 2012

So langsam wird es wirklich ernst: Darf man unzähligen Weltuntergangstheorien glauben, dann steht am 21. Dezember 2012 das Ende aller Tage vor der Tür. Während es die Maya in ihrer Prophezeiung noch freundlich als Eintritt der Menschheit in eine neue Zivilisation formulieren, sind die Verschwörungstheoretiker dieser Welt schon beim Ausmalen der potentiellen Apokalypsenart: Epidemien, Tsunamis, Meteoriten, Sonnenstürme oder Gamma-Blitze. Inzwischen darf sich jeder aus der bunten Palette sein liebstes Szenario auswählen. Doch es gibt auch Menschen, denen das Ende aller Tage ein breites Grinsen ins Gesicht zaubert: Schorch (herrlich böse: Christian Strasser) ist so einer. Der selbstbewusste Börsenspekulant hat bisher nicht nur eine Menge Geld mit seinen Weltuntergangsaktien umgesetzt, sondern betreibt mit einem russischen Kollegen auch noch ein Unternehmen, das Survival-Kits für den Weltuntergang produziert. Und das Geschäft läuft prächtig!
Trotzdem ist sich der selbstverliebte Schorchi, wie in seine Mama liebevoll nennt, nicht zu schade, das Angebot seiner Ex-Freundin Alina (Daniela Golpashin) anzunehmen, um gemeinsam mit ihr und ihrer Filmcrew eine Doku über den anstehenden Weltuntergang zu drehen. So begibt sich die Filmtruppe auf das schicke Jagdschloss des Vermögenden, der als einer der Wenigen einen angrenzenden Stollen besitzt, den er für sich und seine Kollegen weltuntergangssicher umbauen möchte.  …Kaum hat man Friday Night Horror lebendig überstanden, serviert uns Regisseurin Barbara Gräftner eine weitere Naturkatastrophe apokalyptischen Ausmaßes: In ihrem neuesten Film Endlich Weltuntergang liefert sie einen amüsanten und bissigen Kommentar auf die völlig abstrusen Weltuntergangskulte und ihre Verursacher ab. Denn wenn die Welt viele weitere Schorchs beherbergen würde, dann käme uns die Apokalypse wohl nur ganz recht.

Text:  David Rams


DIE SPRACHE DES KÖRPERS (Barbara Gräftner)

Die Sprache des Körpers

Dokumentarfilm, AT/DE 2012, 100 min., OmeU

When the limits of medicine have been reached, it is often a question of coming to terms with a terminal prognosis. But what if it never comes – or comes much later than predicted? For five years, Gräftner has traced the lives of three women who share this plight. They have long adapted their day-to-day lives to their illness. This is a film that looks beyond traditional medicine to a place where faith, love, and hope act as powerful forces of survival.


Director: Barbara Gräftner
Script: Barbara Gräftner
Camera: Robert Winkler
Editor: Angela Christlieb
Sound: Dieter Draxler
Producer: Robert Winkler, Christian Vizi
Production: Bonusfilm
Coproduction: Vizion (DE)


THE AFRICAN TWINTOWERS (Christoph Schlingensief)

THE AFRICAN TWIN TOWERS Christoph Schlingensief, D 2005-2009

Lost in Namibia – a documentary about Christoph Schlingensief’s last, unfinished film – commented by himself.

10 years after his last film, Christoph Schlingenisef wants to give it one more shot: the location for “The African Twin Towers” is Lüderitz, Namibia, the German South-West African colony.

The script is about Richard Wagner, about 9/11, about Hagen von Tronje, about Hereros alive and dead, about ghosts of the past and the present.
It is abandoned at day 2.

What follows are 25 days showing Christoph Schlingensief at his artistic and image-generating best, gushing with ideas and concepts, attempting to find the right form of filmic expression after a decade in theatre, performance arts and visual arts.

 


KAPROW CITY (Christoph Schlingensief)

Co-Editor of the sound and video clips of KAPROW CITY
Taking as his starting point the American artist Allan Kaprow’s 18 Happenings in 6 Parts (1959), Schlingensief conceived a walk-through installation, which appears at the beginning of this exhibition. Where Kaprow’s central concern was to convey the theatrical elements of visual art, with the idea of liberating them from their painterly-contemplative stagnation, both – he and Schlingensief – achive this not through the implementation of artificial, artistic activities but rather through simple gestures like the squeezing of an orange. Addad to this, spacial separation makes it impossible for the spectator to see all the happenings simultaneously, which calls into question the fragmentary nature of vision; this is achived in Kaprow City through the division of spectators into different groups and the execution of everyday acts, sometimes by people handicapped in some way or another.


URVILLE

SYNOPSIS

Urville is the most modern city in the world. It is situated on an island in the Mediterranean and you can go there with a ferry boat. After sundown standing by the coast – you can see Urville’s skyline on the surface of the sea. People say everyone is equal in Urville. Neither prisons, nor ethnic rivalries exist and a divorce rate below 1 percent. Solidarity is a school subject in Urville. Urville is fictional. Some have seen it or know exactly where it is situated, others think of it as a reflection on the Mediterranean’s surface just off the coast of Corsica. Urville is reality. Three French villages carry its name and all inhabitants are certain that their Urville is the most beautiful place in the world. Champagne comes out of the faucet and heals Diabetes and Alzheimers disease. Elections are held in an improvised polling booth in the major’s closet and the political opponent is a selfmade Real Estate-Redskin who carries a lifesize cartboard-figure of Bill Clinton around in the woods. No one is afraid of death in Urville, but Urville is also situated next to one of France’s biggest nuclear power plants. In case of an emergency iodine tablets will be given out for all inhabitants up to the age of forty. The world championist of chitling-making lives in Urville and people always stick together in case of an upsetting event. Some people live a circus life outside the constraints of everyday life and dream of a bourgoise marriage. Everything is possible in Urville. You won’t find it without GPS navigation, detailed maps may help but sometimes you can not even see it with binoculars. But if you make your way to Urville you will find out eventually that legends are worth believing in them.

TRAILER

PRESS

Urville makes a more interesting island vacation than Aldous Huxley’s.
NICK PINKERTON, The Village Voice

A refreshing light-docu-fiction which impresses by Christlieb’s loving humor. Urville is many things in one: documentation, because the people who are in it, very real. Fiction, because play fantasies, desires and utopias a central role. Comedy, because the interviewed people are funny guys. And experimental film, because everything is very playful and tells in part with funds alienating.
MICHAEL KANE, New York Times

A strange, mildly provocative and imaginative “documentary” about an imaginary city. Director Angela Christlieb essentially explores a mythical, fictionalized, utopian society that’s vaguely reminiscent of the town of Pleasantville from the classic movie Pleasantville because everyone seems happy there.
AVI OFFER,The NYC Movie Guru

Angela Chistlieb’s documentary (or ‘fockumentary’ as I like to call it) searches for signs of existence of an imaginary, utopian city, that no one has ever actually seen. Taken at face value the name ‘URVILLE’ means ‘original city’. It is the essence of place and our existence in it that her film tackles, and the search becomes both a poetic  and  literal expedition. In hindsight it seems obvious that utopia would only exist in our own backyards, but these things are never obvious at first. The backyards where the filmmaker lands happen to be four villages in the french countryside all co-incidentally named Urville, that are as magic as the imaginary place she set out to find. In this is the true magic of “Urville” the film, as it eeks out, in the lives of the dairy farmer, the champagne grower, the circus family and the frenchman who dresses as a native american and lives in a teepee, an everyday, touching, sometimes desperate and sometimes hilarious search for a utopia of the soul. a.k.a, happiness. EVE SUSSMAN, Rufus Cinema Press

Klug montierte Assoziationsketten mit gezielt gestreutem Bildwitz. Eine erfrischend leichte Doku-Fiktion, die durch ihren liebevollen Humor besticht.
PETER GUTTING, Kino-Zeit.de

Angela Christlieb sucht und findet den Mythos im Alltag, und mit Urville schafft sie außerdem noch so etwas wie einen poetischen Dokumentarfilm. Urville ist ein Dokumentarfilm mit einem dritten Auge, der hinter dem Schleier der Wirklichkeit stets noch eine weitere Ebene zulässt, sogar einfordert. So erhält die für eine Dokumentation unerhörte Prämisse, nämlich dass es Urville tatsächlich geben könnte, ihr Gewicht.
THORSTEN FUNKE, Critic.de

Drei Orte. Nirgends. Die Eigenwilligkeit ihrer Protagonisten ist derart absurd, daß man kaum an Zufall glauben mag. Das zugleich spleenige wie alltägliche Treiben der Dörfer kontrastiert sie mit stilisierten Großstadtbildern und Details über die Lebensbedingungen in Urville aus dem Off. Dadurch entrückt einerseits das dokumentierte Geschehen – zumindest partiell – auf seltsame Weise der Realität und zugleich erscheint die Vision von Urville als erlebbar. Und letztlich ist es ein Film über die unvorstellbaren Variationen des Lebens.
CORNELIS HÄHNEL, Schnitt

 

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POSTER

urville_poster


THE NOMI SONG (Andrew Horn)

He came from outer space to save the human race. Looks like an alien, sings like a diva – Klaus Nomi was one of the 1980s’ most profoundly bizarre characters. He was a cult figure in the New Wave underground scene, a genuine counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. He was a performer with a “look” so strong, that his first audiences went wild before he even opened his mouth. Klaus presented himself as “the perfect video star” yet his star burned out just before the mass explosion of MTV. On the verge of international fame as a singer, he became instead one of the first gay artists to die of AIDS. In the end, his recorded output consists of re-reissues, in various forms, of only two LP’s and a live album. For those who do know him, the reaction he provoked was so strong, that he is still unforgettable, even 20 years after his death. Even now, Klaus is somehow still winning new fans among those too young to have known him when he was alive. And a quick check of the Internet reveals that all his records are still being sold. […]


D’ANNUNZIOS HÖHLE (Heinz Emigholz)

Co-Editor of D’ANNUNZIOS HÖHLE (D’Annunzios Cave)
Director: Heinz Emigholz, D 2005, 52 min

Lifestyle as Autobiography

The product of a cinematic jam-session held in Gabriele d’Annuzio Villa Cargnacco: four cameramen and film-makers (Irene von Alberti, Elfi Mikesch, Klaus Wyborny und Heinz Emigholz) simultaneously document the rooms of the Villa in their specific styles.
For 17 years Gabriele d’Annuzio (1863-1938) was engaged in designing the Vittoriale at Lake Garda and converted Heinrich Thode’s confiscated villa into his own cult site. ‘D’Annunzio’s Cave’ is a film about off-the-wall European hardcore-culture, a nightmarish tour de force through 15 rooms of the villa Cargnacco in Gardone at Lake Garda which d’Annunzio has moved into in 1921 and where he lived until he died. Emigholz sees in d’Annunzio the exponent of a bombastic-morbid state art and a predecessor of the Lifestyle movement. He observes d’Annunzio’s habitat with repulsion but also with fascination for the grotesque Noah’s Ark. (Süddeutsche Zeitung)


TIGERWOMEN GROW WINGS (Monika Treut)

Editor for TIGERWOMEN GROW WINGS
Written, directed and produced by Monika Treut

Against the backdrop of Taiwan’s turbulent presidential elections in 2004, TIGERWOMEN GROW WINGS portrays three women of different generations. Noted opera singer Hsieh Yueh-hsia, internationally renowned writer Li Ang, and 23-year-old film director Chen Yin-jung are featured in this documentary, which focuses on the changes taking place in the lives of women in Taiwan’s youthful democracy.


GOFF IN DER WÜSTE (Heinz Emigholz)

Editor of the Making Of – GOFF IN THE DESERT
Director: Heinz Emigholz

The film shows 62 buildings – from small petrol stations to representative museums – designed by the American architect Bruce Goff (1904-1982). As such, it is the first comprehensive filmic catalogue of nearly all his surviving creations. Bruce Goff is the great unknown of an original American form of architecture. His constructions and designs run contrary to the ideals of the by contrast well-known Inter-national Style movement. Bruce Goff’s work sparked legendary controversies during his lifetime. Nearly all his buildings stood like a shock in the landscape, paving the way for new, as yet unimaginable avenues in architecture.

Heinz Emigholz’s filmic photographs are an open-minded look at the spaces Bruce Goff created. Shooting took place on 40 days in April and May 2002 during a 9,200-mile journey across the United States.


MADE IN TAIWAN (Monika Treut)

Made in Taiwan

Documentary, Germany/Taiwan 2005, 30 min, color, Digi Beta
Airdate: Sept. 29, 2005, 9 pm, 3sat / German TV, Oct. 2005 PTS Taiwan

Synopsis

Yi-chun from Taipei is a slender girl and she loves to eat. That’s a problem for the 17-year-old dance student, since she is supposed to be on a strict diet. Her family and her teachers are watching her closely. There is not much laissez-faire for teenagers in Taiwan, the over-achieving country. Good grades in school are mandatory. Used to 12 hours school days, kids and teenagers are thrown under the harsh regime of competition in school, Yi-chun also takes extra lessons in math and teaches at the dance school where her mother works. To be an teenager in Taiwan is not about sex, drugs and rock ‘n roll but about discipline, good grades and the struggle for the best possible start to professional life.Taiwan is perhaps the most advanced and developed country in South-east Asia. For the last 5 years it has enjoyed a fully fledged democracy, which stands up against the threats of the superpower China. The film follows Yi-chun in her everyday life in school, where we still find remnants of the military dictatorship like raising the flag and target shooting. We also witness Yi-chun’s little escapes to the night markets and her soft rebellion against the always critical older sister.

Cast

Yi-chun, her family and the dance class of Chiang-Kai-shek High-School, Taipei

Crew

Written, directed and produced by Monika Treut

Camera: Elfi Mikesch // Sound: Yang Chia Hao // AD: Wen Cheng // Editor: Angela Christlieb // A Co-Production of Hyena Films with PTS-Taiwan for ZDF/3sat // Commissioning editors: Nicole Baum and Jessie Shih

Festivals

Biarritz, France // Women Make Waves, Taiwan // Womens Film Festival, Korea // Doc Fest, Nyon, Switzerland.

Reviews

Filmmaker Monika Treut observes the youthful activity without casting judgement, remaining protectively close to her protagonsist’s face. Her dynamic handheld camera immerses us into the feverish hustle and bustle of Taipei with its giant illuminated adverstising boards, huge shopping malls open 24 hours a day, and crowds of people everywhere. IDF Nyon

Rights Taiwan: PTS TV Taiwan: www.pts.org.tw
Rights Asia (except Taiwan): Hyena Films; all other territories: ZDF Enterprise


PAUL BOWLS HALFMOON / Making Of

 

HALFMOON (Paul Bowles – Halbmond) Frieder Schlaich, Irene von Alberti, D 1995, 93 min
Three short stories by Paul Bowles, the American writer from Tangiers whose 1949 Masterpiece The Sheltering Sky was filmed by Bernardo Bertoculli in 1990, are the subject of a prizewinning film by Irene von Alberti and Frieder Schlaich from Germany.
PAUL BOWLES – HALFMOON is a magical three-part descent into the realms of cobras, kif and quandries of life. The famous cult author himself introduces the episodes, which all tell of ununsual relationships.


THE JENIN HORSE (Thomas Kilpper)

Al Hissan – The Jenin Horse by Thomas Kilpper
Editor: Angela Christlieb
Duration: 26:037
Format: digital video 4:3
Language: Palestinian Arabic
Subtitles: English
Production date: 2003
Production country: Palestine
Acknowledgements: Qattan Foundation and Goethe Institute Ramallah
http://www.kilpper-projects.net/the-jenin-horse

Al Hissan – The Jenin Horse 2003
Art in Public Space Under Conditions of Occupation

“By invitation of the Goethe Institute Ramallah, I led a several-week-long workshop with Palestinian youths in Jenin in the summer 2003. Together we built a five-metre tall horse out of scrounged metal taken from destroyed houses and cars. The horse was subsequently towed through the streets of Jenin and, at a later point, almost 200 km away through the occupied territories of the West Bank.”

Al Hissan – The Jenin Horse