Wir hören uns im Kino!

76th Locarno International Film Festival – International Competition / Winner: Pardo for Best Performance (Dimitra Vlagopoulou)
Sarajevo International Film Festival – International Competition

Diese Fernseh-Dokumentation der Regisseurin Uli Jürgens beschäftigt sich mit dem bisher wenig bearbeiteten Thema der Aufarbeitung der NS-Vergangenheit innerhalb sogenannter Täterfamilien. Wie werden Familiengeschichten weitergegeben? Und wie wirkt sich die Vergangenheit auf die nachfolgenden Generationen aus? Familiengeschichten setzen sich aus unzähligen Teilen zusammen: Episoden, die erzählt werden – Begebenheiten, über die niemand spricht – Personen, die auf Fotografien zum Leben erwachen – Ereignisse, die in Dokumenten nachgezeichnet werden. Hier wird der Opa zum Helden stilisiert, dort wird Unangenehmes beiseitegeschoben und verharmlost. 

Der Zweite Weltkrieg ist lange vorbei. Nur wenige haben noch die Möglichkeit, die Großeltern zu befragen und auf Antworten zu hoffen. Wenn Zeitzeuginnen und Zeitzeugen sterben, sind die nachfolgenden Generationen auf Erzählungen aus zweiter Hand angewiesen. Auch drei Generationen reichen oft nicht aus, um gesellschaftliche Tabus zu brechen und die Lücken in der Familienbiografie zu füllen. Es ist viel Arbeit, sich dem zu stellen, was die Recherche ans Licht bringt. Sie sorgt für Leid, Trauer und Scham. Die Lehre aus der Vergangenheit als Verantwortung für das Heute.

Emperia Sound aus Los Angeles beauftrage Rudolf Gottsberger mit der Erstellung des Sounddesigns für den Naraka: Bladepoint x Bruce Lee – Official Collaboration Trailer. Das Computerspiel ist eine Fortsetzung der legendären Naraka Bladepoint Reihe. Mehr als 1 Million Views auf Youtube!

EPISODE 1

Außergewöhnliche Lebensorte, spannende Menschen: Gemeinsam mit ihren drei Kindern bewohnen Patrick und Mikela Endl die Schutzhütte Gjaid Alm. Wetterwart Ludwig Rasser lebt und arbeitet seit über 40 Jahren am Sonnblick Observatorium.

Was sie verbindet? Ein Leben in luftiger Höhe.

EPISODE 2

Außergewöhnliche Lebensorte, spannende Menschen: Im Südtiroler Dorf Steinegg führen Irene und Hube ein naturnahes Leben zwischen Jurte und Stall. Der belgische Mönch Stan Vanuytrecht zieht sich als Eremit in die Einsiedelei am Palfen zurück.

Was sie verbindet? Ein bescheidener Lebensstil.

EPISODE 3

Außergewöhnliche Lebensorte, spannende Menschen: Carl Philip Clam-Martinic steckt all seine Energie in die Erhaltung seiner Burg Clam. Karl und Ingrid Vetter von der Lilie bauen seit rund 40 Jahren Burg Neuhaus wieder auf.

Was sie verbindet? Ihre Liebe zu alten Gemäuern.

The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years beforehand, factories had been occupied and recuperated almost exclusively in Latin America. In most cases an occupation is not a deliberate step towards workers’ control but a means of workers’ struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control. The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces often reinvent themselves, building links with local communities and social movements.

The 4-channel video installation “Occupy, Resist, Produce” consists of four films on occupied factories in Milan, Rome, Thessaloniki and Gémenos. In these cases the workers did find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers’ assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the four worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

In their fourth collaborative film Zanny Begg (Sydney) and Oliver Ressler (Vienna) focus on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The title “Anubumin” is Nauruan for “night” and symbolises a certain darkness that surrounds the island. The film combines a poetic narration written for the film with conversations carried out with whistleblowers in Australia. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” – housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. They uncover a truth the Australian government tries to cover through intimidating people into silence. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live. The people who warden the political and economic refugees of today may well become climate refugees of tomorrow. The night is always darkest before the dawn.

Ein Dokumentarfilm als Teil eine 4 Kanal Video Installation zum Thema Klimawandel.

Not too long ago, global warming was science fiction. Now it has become hard science, and a reality we already live in. The latest reports from the sober Intergovernmental Panel on Climate Change (IPCC) suggest that the planet may be approaching multiple thresholds of irreversible damage faster than was ever anticipated. The title “Everything’s coming together while everything’s falling apart” refers to a situation in which all the technology needed to end the age of fossil fuel already exists. Whether the present ecological, social and economic crisis will be overcome is primarily a question of political power. The climate movement is now stronger than ever. It obstructed pipeline projects such as the Keystone XL tar sands pipeline. It stopped Arctic drilling and blocked fracking all over the globe. Coal-fired power plants were shut down by resistance, and the divestment movement that pressures institutions to unload their stocks from fossil fuel corporations has had successes.

Ein Dokumentarfilm als Teil eine 4 Kanal Video Installation zum Thema Klimawandel.

Not too long ago, global warming was science fiction. Now it has become hard science, and a reality we already live in. The latest reports from the sober Intergovernmental Panel on Climate Change (IPCC) suggest that the planet may be approaching multiple thresholds of irreversible damage faster than was ever anticipated. The title “Everything’s coming together while everything’s falling apart” refers to a situation in which all the technology needed to end the age of fossil fuel already exists. Whether the present ecological, social and economic crisis will be overcome is primarily a question of political power. The climate movement is now stronger than ever. It obstructed pipeline projects such as the Keystone XL tar sands pipeline. It stopped Arctic drilling and blocked fracking all over the globe. Coal-fired power plants were shut down by resistance, and the divestment movement that pressures institutions to unload their stocks from fossil fuel corporations has had successes.

Ein Dokumentarfilm als Teil eine 4 Kanal Video Installation zum Thema Klimawandel.

Not too long ago, global warming was science fiction. Now it has become hard science, and a reality we already live in. The latest reports from the sober Intergovernmental Panel on Climate Change (IPCC) suggest that the planet may be approaching multiple thresholds of irreversible damage faster than was ever anticipated. The title “Everything’s coming together while everything’s falling apart” refers to a situation in which all the technology needed to end the age of fossil fuel already exists. Whether the present ecological, social and economic crisis will be overcome is primarily a question of political power. The climate movement is now stronger than ever. It obstructed pipeline projects such as the Keystone XL tar sands pipeline. It stopped Arctic drilling and blocked fracking all over the globe. Coal-fired power plants were shut down by resistance, and the divestment movement that pressures institutions to unload their stocks from fossil fuel corporations has had successes.

The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years beforehand, factories had been occupied and recuperated almost exclusively in Latin America. In most cases an occupation is not a deliberate step towards workers’ control but a means of workers’ struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control. The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces often reinvent themselves, building links with local communities and social movements.

The 4-channel video installation “Occupy, Resist, Produce” consists of four films on occupied factories in Milan, Rome, Thessaloniki and Gémenos. In these cases the workers did find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers’ assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the four worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

2009 erschoss die Polizei einen 14-jährigen Teenager bei einem nächtlichen Einbruch in einen Supermarkt in einem Vorort von Krems. Inspiriert von diesem wahren Fall greift EINER VON UNS das Lebensgefühl der Jugendlichen auf, das von Konsum und ohnmächtiger Rebellion geprägt ist. Der 14-jährige Julian und sein Freund Marko geraten so in Konflikt zum angepassten Stillstand, der die Welt der Erwachsenen prägt. Ein Konflikt, der in einer unerwarteten Tragödie endet.

Im Juni 1940 rettet der portugiesische Diplomat und Konsul im französischen Bordeaux, Aristides de Sousa Mendes, zehntausende Menschen vor der NS-Verfolgung. Er widersetzt sich den Anweisungen von Diktator Salazar, stellt Moral über das Gesetz und unterschreibt unautorisierte Transitvisa für Portugal. Hunderte

The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years beforehand, factories had been occupied and recuperated almost exclusively in Latin America. In most cases an occupation is not a deliberate step towards workers’ control but a means of workers’ struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control. The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces often reinvent themselves, building links with local communities and social movements. The 4-channel video installation “Occupy, Resist, Produce” consists of four films on occupied factories in Milan, Rome, Thessaloniki and Gémenos. In these cases the workers did find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers’ assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the four worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years beforehand, factories had been occupied and recuperated almost exclusively in Latin America. In most cases an occupation is not a deliberate step towards workers’ control but a means of workers’ struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control. The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces often reinvent themselves, building links with local communities and social movements.

The 4-channel video installation “Occupy, Resist, Produce” consists of four films on occupied factories in Milan, Rome, Thessaloniki and Gémenos. In these cases the workers did find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers’ assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the four worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

In recent years, Switzerland has become the global center for commodity trading. In no other country are more commodities bought and sold than in Switzerland; nevertheless, the crude oil, copper, aluminum, coal or wheat never reaches Swiss territory because the deals are carried out completely in a virtual world. Despite its importance for the Swiss and the global economy, the public knows very little about these secret transactions.

Musikvideo für Polyrac

Agentur: Demner, Merlicek & Bergmann

Teilnahme an der Biennale de Lyon, 2009

Imagefilm : das offizielle Life Ball Video