B-MOVIE

SAT 23.04.

09:30 P.M.

GUEST: MAYA CONNORS

Q&A: GERMAN

The Dunes Said

Maya Connors, D/ARG 2021, 23 min, English/Spanish/German Original with English Subtitles

Ffffffffftttt, Krkkrkrk, Shhhhh – onomatopoeic to make the movement of wind and sand cognitively experienceable. Man stands in the sand dune and asks about its nature, its essence. On the one hand Helmholtz’s law provides a scientific explanation for the formation of sand dunes, on the other hand there is a fictional story about a city built on sand dunes. In the 1930s, Carlos Gesell founded the town of Villa Gesell on Argentina’s east coast. After many years of work, he succeeds in cultivating special types of plants and forests on the shifting dunes. His interest was not only in the economic use of the trees, but rather in the realization of an alternative working and living community.
In her essayistic film, the filmmaker Maya Connors condenses her material to explore the founding moment of the place and not only asks about the beginning of a story, the relationship between man and nature, but also about alternative forms of collective memory. (mr)

B-MOVIE

SAT 23.04.

09:30 P.M.

GUEST: SAMUEL PARKES HEINRICHS

Q&A: GERMAN

Derweil

Samuel Parkes Heinrichs, D 2020, 45 min, German Original with English Subtitles

Welzow in Lower Lusatia, surrounded by brown coal wasteland, an area for which there are no up-to-date maps. 17 villages have already been swallowed up by the huge opencast mining excavators. The end of mining has been decided, but the largest moving machine in the world will continue to eat its way through the earth for years to come. The camera follows space and people, traversing a landscape that will blossom in decades, with large lakes and forests set to become a leisure paradise. And in the meantime: young men on bicycles, on motorbikes, the camera scans the rugged topography from the air, a tourist bus on a sightseeing trip at the edge of the pit, a game of football between local clubs, after-work frenzy…
In its drifting form, in the juxtaposition of the scenes, in the alternation of movement and stillness, in the circling and exploring of people and landscape, ‘Derweil’ succeeds in its observation of transitions and the spaces in-between while repeatedly refusing the expected and the cliché – while sometimes also surrendering to them. (tg)