October 2014

New in our distribution range

Stills from Die Zeit vergeht...



We are pleased to have some new titles in our distribution catalogue: Philipp Hartmann's DIE ZEIT VERGEHT WIE EIN BRÜLLENDER LÖWE (Germany 2013), all of Loretta Fahrenholz’s films (HAUST (Germany 2010), QUE BÁRBARA (USA 2011), IMPLOSION (Germany/USA 2011), GRAND OPENINGS RETURN OF THE BLOGS (USA 2012), DITCH PLAINS (Germany/USA 2013), MY THROAT, MY AIR (Germany 2013)), as well as Johanna Domke and Marouan Omara’s film CROP (Germany/Egypt 2012) which has already won several festival awards. A digital (Blu-ray) version of Yvonne Rainer's experimental classic LIVES OF PERFORMERS (USA 1972) is also now available.

In DIE ZEIT VERGEHT WIE EIN BRÜLLENDER LÖWE, the filmmaker suffers in the statistical middle of his life from chronophobia. If he is to be cured, a way of putting the brakes on time has to be found.

Loretta Fahrenholz’s HAUST is an experimental feature film that focuses on the the conflictual life and relationships of three former art students in East Germany. In QUE BÁRBARA, the director examines - like in her earlier works - the conditions under which art is produced and received. Based on a play by Kathy Acker, IMPLOSION is an experimental translation between medium and format, as well as between decades and bodies. GRAND OPENINGS RETURN OF THE BLOGS accompanies the group "Grand Openings" (Ei Arakawa, Jutta Koether, Jay Sanders, Emily Sundblad, Stefan Tcherepnin) during 10 days of performances at New York’s MOMA. DITCH PLAINS was filmed when “Hurricane Sandy” struck Brooklyn - it is an apocalyptic sci-fi streetdance film, featuring dancers from the "Ringmasters Crew".
Loretta Fahrenholz’s most recent film, MY THOAT, MY AIR, is a semi-fictional drama shot in Munich’s bourgeois Westend district, with horror film director Ulli Lommel, who also played in Rainer Werner Fassbinder’s films and collaborated with Andy Warhol.

Johanna Domke and Marouan Omara's award-winning CROP is an absorbing film about the Egyptian revolution of 2011 that does not feature any images of the uprising itself. Shot completely on the premises of Egypt’s biggest state-run newspaper, Al-Ahram, the film is constructed from carefully-composed takes, which give an insight into the institution’s functioning, as well as the former regime’s tight grip on information.