Catalogue > List by artist

Life on the island follows the changing pace of day and night. Where the only road seeps into the forest, the air gets warmer, more humid. Here, in the shade of tall trees, a man is at work with his tool. The sounds he produces blend in with the sounds of the all-embracing nature. His daily routine is directed by light and shadow until the sun sets. At night, at the other end of the road, his loneliness is softened by the voices of the others, next to the warming fire, until the first light.

Isabell Heimerdinger was born in Stuttgart, Germany. She studied sculpture at the Kunstakademie Düsseldorf and received an MFA in photography at the California Institute of Arts in Los Angeles. During her years in Hollywood, she made a living working in special effects animation. Unsurprisingly her art work revolves around the conditions of filmmaking. In 2008, she shot her first narrative short film in France (Detour), followed by a series of experimenal films set in Beijing (Good Friends, Blind Date, Mr. Xu) and in Italy (Giorgio). While the settings of her films are always real, the stories and the characters that inhabit them are not. Isabell Heimerdinger lives and works in Berlin. Her films have been shown among other venues at Berlinische Galerie, Kino Arsenal, Centre George Pompidou, Art Film at Art Basel, Kunstmuseum St. Gallen and various international film festivals.

How my parents met each other, came together, and then left each other. - a film about a political love in their time.

Finn-Ole Heinrich studied film in Hannover, writes stories (of which the latest published is "die taschen voll wasser") and is involved with many other projects as well.

Ba’a, Rote Island, East Nusa Tenggara. Midnight until sunrise. Motorbikes pass and people begin to gather along a dark boulevard to the hum of a generator. Torch-lit activity and distant lights observed in expectation. Filmed over several nights the film follows the men an women waiting for the fishing boats to return from sea.

Samuel Heinrichs studied History and Politics in Sheffield before beginning his studies at the HFBK in the Film Department in 2012. There he has produced several short films which, though very different, share an interest in exploring filmic forms for investigating specific and localised places.

At the rate of a solitary drift, an arsonist confides to us. His life, dreams and imagination reveal his unconscious relationship to fire.

Paul was born in 1989 in Saint-Avold (France). He is a Fine Arts graduate from Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. 
His work goes through object, sound, video and installation. His first film "Non Contractual" was screened among others festival at RIDM, Indie Lisboa and FID. His last film "Hearths" premiered in 2018 at FIDMarseille and Dok Leipzig and was selected at Rotterdam 2019.

In an occupied factory in the south of France, a group of workers reactivates discreet movements of past worker resistance. It’s the dance of obstruction.

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes. In 2019, he won the contemporary art price Révélation Emerige and Artist book of the year of Adagp 2021.

CHARACTER is a multi-media art project through which Paul Heintz went to meet the English namesakes of Winston Smith, hero of George Orwell's Nineteen eighty-four. Is there an unspeakable link between them and Orwell's hero? For almost two years, the filmmaker Paul Heintz went in search of Winston Smith, in an investigation that was part of a multimedia project. When he publishes a classified advert in the English daily newspaper The Sun to find namesakes of the hero of the novel 1984, he causes a collision between fiction and reality. Somewhere between deconstruction and reinterpretation, the director sets off to meet people, in a dystopian casting exercise set amidst dehumanised urban landscapes. The texture of the archival image transports us into the spirit of this cult book published in 1949, while the different film-portraits that appear reveal, above all, the social dimension of the filmic process. Under its author’s worried gaze, the dystopia imagined by George Orwell ultimately merges with the social and political conflicts of the 21st century. While the daily life of these illustrious strangers becomes dystopian, absorbed by our imagination, their final encounter cleverly challenges everyone’s role in an individualistic society turned upside down by the pandemic.

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche, Circulation(s). In 2019, he won the contemporary art price Révélation Emerige and Artist book of the year Adagp 2021. Paul Heintz’s eld of action is a bizarre set of cases where what is real is largely imbued with fiction, and where social normativity also makes its weight entirely felt. There is an inherent toxicity to imagination and fiction when they combine their approval of the social norm, as is the case with storytelling for example. From there, Paul Heintz enters the logic of fiction, takes it further and lets through redeeming current.

Bored one evening, three friends have fun reflecting on the symbolism of the Jeddah fountain in Saudi Arabia. Built by the king in the 1980s, it is considered the highest fountain in the world. Their thoughts on this monument turn into reflections on power, prohibition and the recent gentrification

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes.

Autodis is a car dealership just like every other company except that its employees work virtually. The film takes as its starting point this company considered a model of its kind and tells us about its singular functioning.

Paul Heintz, a graduate from the Ecole des Beaux-Arts de Nancy and Ecole des Arts Décoratifs de Paris was born in 1989 in Saint-Avold (France). Paul Heintz explores a bizarre set of cases where what is real is largely imbued with fiction, and where expected behaviour also makes its impact felt. There is an inherent toxicity to imagination and fiction when they combine their approval of the social norm, as is the case with storytelling for example. From there, Paul Heintz enters the logic of fiction, takes it further and lets a redeeming current seep through. His work invests objects, sound, video and installation and has been presented at contemporary art events such as Le Salon de Montrouge, Paris Nuit Blanche and Circulation(s), the festival of young European photography. He is currently living and working in Paris as well as in Lille in France, where he is a student at Le Fresnoy - Studio national des arts contemporains.

?Solar System? is a film about disappearance. It is a portrait of daily life in the indigenous community of the Kollas in Tinkunaku in the mountains of northern Argentina. It tells the story of Ramona and Viviano in the valley of Blanquito and at high altitude in Santa Cruz, of the deaf Fortunato and of Louis? family, of Soto the shepherd, and of Cecilia and Bernardo whose tractor turned over, of Guido the child who carves men out of clay, of God, of the carnival which everybody celebrates, and of the flowing of the waters. The film shows a meeting without knowing the language of the other, a story of getting to know and seeing each other without words. Non-verbally, exclusively through images the film approaches the people of a small indigenous Kolla community. We accompany the seasonal tramp of Viviano and Ramona from the valley up to the village of Santa Cruz, 3000 meters above sea level, where they spend the summertime until the autumn rain makes them go back to Rio Blanquito. Living with the Kollas, inbetween the old rites and the irruptive modernity, in the grandiose landscape of Yunga and Quechua, the film narrates the day-to-day disappearence of an indigenous people. Dies irae.

Thomas Heise was born in Berlin, capital of the German Democratic Republic, in 1955. After school he trained as a printer ? ?in the GDR printer was the profession of choice of social failures?. (Heise in a talk with Erika Richter). After his military service in the East German armed forces he began to work as an assistant director at the DEFA ? Studio for Feature Films in Potsdam Babelsberg in 1975. Parallel to his work at the studio he resumed his studies and completed his secondary education. Between 1978 and 1983 Heise studied at the Academy of Film & Television in Potsdam-Babelsberg (HFF/B). His first film, the documentary ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) ? produced entirely with materials bought on the black market ? was banned from public screening. Heise broke off his studies. Since 1983 he has worked as a free-lance writer and director in the areas of theatre, audio drama and documentary. Until the end of the GDR all his documentary efforts were however either blocked by what was ? in official jargon ? called ?operative means? or destroyed or confiscated. He started conducting preliminary research for his later films, such as Eisenzeit (?Iron Age?) or Vaterland (?Fatherland?) around the same time. Heise found an artistic home at the theatre, where he cooperated closely with author and director Heiner Müller. Between 1987 and 1990 Heise acquired his MA at the Berlin Academy of Fine Art. He was a member of the Berlin Ensemble until 1997, where acted as contributing director for a number of productions. Since the beginning of the 1990s Heise?s documentaries have attracted national and international attention. Since 2007 he is teaching as a Professor for Film and Media Art at Hochschule für Gestaltung Karlsruhe. Thomas Heise?s earlier films dealt with social phenomena in the GDR and the country?s bureaucratic apparatus. From the late 80s his focus has moved to the changes individuals, families and regional communities have had to undergo in the aftermath of the German reunification. The works of the filmmaker encompass a wide range of contemporary socially relevant topics such as privatisation, the re-organisation of the formerly industrial sphere, unemployment and rightwing radicalism to name but a few. Heise?s documentary works are characterised by his precise and insistent way of looking at things. Rather than exploiting or misrepresenting his characters, he takes the time necessary to build up a relationship with them, but stops short of over-identification. ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) the title of his first completed short documentary has also become a guiding principle of his work. Heise?s films show people that have been marginalized by society, yet their lives are the site where historical developments converge ? the East German neo-Nazis out of the Stau (Jammed) films, the spy out of Barluschke, the rebellious East German teenagers out of Eisenzeit or the little village, marked by traces of German history in Vaterland. Heise brings the multiple social, political and historical undercurrents of life in today?s Germany to light.

What became Jeanette?s, the bus driver, dream? How are her children, Tommy and Paul? Is life under control now? What does Jeanette?s little brother Tino mean by ?mixing everything?? The snowman has no mouth.

Thomas Heise was born in Berlin, capital of the German Democratic Republic, in 1955. After school he trained as a printer ? `in the GDR printer was the profession of choice of social failures`. (Heise in a talk with Erika Richter). After his military service in the East German armed forces he began to work as an assistant director at the DEFA - Studio for Feature Films in Potsdam Babelsberg in 1975. Parallel to his work at the studio he resumed his studies and completed his secondary education. Between 1978 and 1983 Heise studied at the Academy of Film & Television in Potsdam-Babelsberg (HFF/B). His first film, the documentary `Wozu denn über diese Leute einen Film` (`Why a Film About These People?) - produced entirely with materials bought on the black market - was banned from public screening. Heise broke off his studies. Since 1983 he has worked as a free-lance writer and director in the areas of theatre, audio drama and documentary. Until the end of the GDR all his documentary efforts were however either blocked by what was ? in official jargon ? called `operative means` or destroyed or confiscated. He started conducting preliminary research for his later films, such as Eisenzeit (`Iron Age`) or Vaterland (`Fatherland`) around the same time. Heise found an artistic home at the theatre, where he cooperated closely with author and director Heiner Müller. Between 1987 and 1990 Heise acquired his MA at the Berlin Academy of Fine Art. He was a member of the Berlin Ensemble until 1997, where acted as contributing director for a number of productions. Since the beginning of the 1990s Heise`s documentaries have attracted national and international attention. Thomas Heise`s earlier films dealt with social phenomena in the GDR and the country`s bureaucratic apparatus. From the late 80s his focus has moved to the changes individuals, families and regional communities have had to undergo in the aftermath of the German reunification. The works of the filmmaker encompass a wide range of contemporary socially relevant topics such as privatisation, the re-organisation of the formerly industrial sphere, unemployment and rightwing radicalism to name but a few. Heise`s documentary works are characterised by his precise and insistent way of looking at things. Rather than exploiting or misrepresenting his characters, he takes the time necessary to build up a relationship with them, but stops short of over-identification. `Wozu denn über diese Leute einen Film` (`Why a Film About These People`) the title of his first completed short documentary has also become a guiding principle of his work. Heise`s films show people that have been marginalized by society, yet their lives are the site where historical developments converge - the East German neo-Nazis out of the Stau (Jammed) films, the spy out of Barluschke, the rebellious East German teenagers out of Eisenzeit or the little village, marked by traces of German history in Vaterland. Heise brings the multiple social, political and historical undercurrents of life in today`s Germany to light.

Famed Austrian conductor Otmar Suitner`s affair with a much younger woman resulted in a divided life, quite literally - he had two different families separated by the Berlin Wall. When Suitner`s grown son attempts to rediscover and reclaim his father`s past - including rare footage of his performances - secrets are uncovered and startling new memories created.

Igor Heitzmann was born in Rendsburg,Germany, New Years Eve 1971 and is currently living in Berlin. He studied film at the German Film and Television Academy, Berlin (DFFB).

Synopsis "Sra. Gaivota" 3D Animation. Year 2023. Duration 00:10:02 Comissioned by Pivô Satellite, Sâo Paulo. Brazil In the midst of an urban landscape, a seagull moves through mountains of garbage and waste in a coastal city. This is the second video in a series where talking birds, the first being "Il Piccone Parlante"(2022) explore themes ranging from the environmental impact of cities to the labor and financial struggles of seagulls, their relationships with each other and with humans. "Mrs. Seagull" features an inner monologue as she reflects on fragments of her life and her connection to the environment. Her voice is a blend of deep thoughts and observations, and as the narrative progresses, she invites us to contemplate the complex interaction between wildlife and the decaying contemporary world. This video is a hybrid poem, where the texts were created in conversation with an artificial intelligence platform, resulting in an intertwined narrative of information, humor, and absurdity.

Mónica Heller (1975, Buenos Aires - Argentina) lives and works in Buenos Aires, Argentina. She has a degree in Arts from the Universidad Nacional de las Artes (2003) and completed the Artists' Programme at the Universidad Torcuato Di Tella (2009-10). Her exhibitions include ‘Las botitas que todxs temen todxs quieren’, at Piedras Galería, Buenos Aires, Argentina (2024); ‘Sra. Gaivota’, at Pivô Satélite, São Paulo, Brazil (2023); “El origen de la sustancia importará la importancia del origen”, Argentine Pavilion at the Arsenale, 59th Venice Biennale, Italy (2022); “Del orden cósmico al orden cosmético”, at the Museo de la Mulher, Córdoba, Argentina (2021). Her work and research address various visual narratives in which animation, painting and character design reflect on contemporary issues, such as the use of technologies in relation to the body and knowledge, the socio-environmental impact and the capitalist crisis. Heller is an artist known for her 2D and 3D animation works created with freely available CGI libraries. Her self-taught approach to digital technology, combined with her dedication to craftsmanship, defines her work ethic. In both her animations and paintings, she sets out to undo rational logic and indulge in surreal scenarios in which absurd coexists with the sinister.

Shot in Abu Dis (East Jerusalem), "Love Sum Game" shows a tennis game taking place on both sides of the Separation Wall. The film was only made possible by the cooperation and dialogue established between Israeli and Palestinian artists and activists in the forum of "Artists Without Walls", which is a permanent forum for dialogue between Israeli and Palestinian individuals engaged in all fields or art and culture.

Eytan Heller was born in Brussels in 1968, and has been living and working in Israel since 1988. Holds a BA in Political Science from the Hebrew University of Jerusalem (1988 - 1991), and a M.Sc. in International Political Economy from the The London School of Economics (1991 - 1992). Spent three years working as an Economist for the European Commission in Israel (1994 - 1997). Subsequently studied film at New York University. Returned to Israel, producing and directing radio and television documentary programs. Since 1998, has been taking part in group exhibitions in Israel and abroad. Currently works on documentary film productions.

"Destruct" knowingly abstains from all concrete position-taking towards the images presented. The film doesn't develop a single narrative action: starting with an object-image, drawings in metamorphosis come apart into lineaments to form the next object-image. The basis of these drawings, of unusual complexity for an animation film, are photographs from news reports. Through their transformation in the medium of drawing, they turn into inventories that erase identities and turn blood and the pieces of corpses even more presentable, and in this way losing all sensational concupiscence. The subtitle "This Is Not The Moon" refers to the ambivalent structure of these conflicts that we (Western Europeans) in general imagine exclusively under the form of a an elaborate and abstract medial distance.

Aline Helmcke was born in Berlin. She studied Plastic Arts at the University of Arts Berlin with majors in 'installation drawing' and the 'creation of experimental film' with professor Dieter Appelt. Since the end of her studies she has been living and working in Berlin as a plastic artist and film-maker. She was an instructor of experimental animation (cinematic adaptation of the manuscript, "Dynamik der Großstadt", by Laszlo Mololy-Nagy) at the University of Arts Berlin. She also completed a five month residency In charge of at the Akademia Sztuk Pienknych (Academy of Beautiful Pieces) in Krakow with professor Jerzy Kucia. Helmcke is currently studying animation at the Royal College of Arts in London.

Two daughters of a Nepalese Tamang family are preparing to study abroad. Their hopes for a better life are high, but the price is immeasurable. They have to leave behind what is the Tamang people‘s greatest good: their family. The sisters seek a conversation with their mother and grandmother, who still live arduous lives following the old tradition.

Ronja Hemm grew up in Bamberg and studied time-based media at University of Applied Sciences in Mainz. During her studies she devoted herself mainly to documentary formats. The documentary film For Your Sake is her graduation film.

A WALK WITH NIGEL is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence. An archaeological study of a community, reawakening the archive in the present. A materialist study of streets and social relations. This is a two screen video about the photographic work of the late artist Nigel Henderson (1917-1985). Re-visiting the same locations within which Nigel Henderson originally shot a series of photographs in the 1950s in East London, Louis Henderson creates a response to these photographs and locations on video in the present. The video is presented alongside the original photographs, forming a dialectical collage of a temporal/imagistic nature, combined with a voice-over created from fragments of text found in the Nigel Henderson collection in the Tate Gallery Archive. A WALK WITH NIGEL is the continuation of certain aesthetic and political ideas developing ? through historical understanding ? the afterlife of a body of work.

Biography Born in Norwich in 1983. Moved to London in 2004 to study Film and Video at London College of Communication (University of the Arts London) graduating with a First Class Honours degree. Between 2007 and 2009 worked independently on various solo and collaborative films and worked as an assistant to William Raban. In 2009 began a practice-based PhD at London College of Communication supervised by William Raban and Dr Jonathan Dronsfield, working in film, photography and text. The research is led by the question ?Can Film be a Future Archaeology?? and looks into the politics of institutional archives and the way art takes part in the production and distribution of the common.

Christian de Portzamparc was born in 1944 in Casablanca, Morocco. The city was immediately the major subject of his work. From 1975 to 1979 he applied his concept of an island open on the street to quarter of Les Hautes-Formes in Paris. He would have the same approach in Marseille, Nantes, and Montpellier. He is also the author of a series of works devoted to art: Conservatoire de musique Erik Satie (Paris, 1981-1983), Ecole de Danse de l`Opéra de Paris, Nanterre (1983-1988), Cité de la Musique (1990-1995). The complexity of this last program led him to organize space as a fragment of the city. At the beginning of the 1990's, his career became international with the Bandaï Tower in Tokyo in 1994, and the LVMH Tower in New York in 1995. Most recently, the architect was entrusted with the mission of designing the Luxembourg Philharmonic and the French Embassy in Berlin. In the meantime the extension of the Pathé Tushinski Cinema in Amsterdam, Holland is at the stage of study.

Decision Pending is an alienating observation of politicians stuck in the daily routines of decision making. During committee meetings and plenary sessions everyone seems under the spell of difficult decisions that have to be made. Decision Pending is a non-political film about politics, which unfolds itself as an audiovisual symphony.

Tomas Hendriks (°1985) studied Composition at the Royal Conservatory in The Hague (NL) and Film / Audiovisual Art at KASK School of Arts in Ghent (BE). His compositions have been performed and awarded throughout the Netherlands and Belgium. His films are characterized by a strong sense for composition and focus on the experience of image and sound. They can be best described as moods, shaped or stretched out over a course of time. Consequentially, the unspoken and unexplained are prominent. In 2009, his graduation film Strangers (15min) was screened and awarded at several film festivals. For Decision Pending, his first independent film, he also wrote the music, which is performed by Spectra Ensemble.

`Strangers` shows someone after a disturbing discovery. The shock of this moment disrupts his perception. The film takes you into his experience of a world losing its coherence

Since his early childhood, Tomas has been occupied with composing music. He studied composition with Roderik de Man from ?99 till ?03, at the Royal Conservatory The Hague. During this period, he was awarded in several national youth composition competitions (such as the ?Prinses Christina Concours, 2000?). His works have had professional performances, varying from solo pieces to orchestral scores, by ensembles such as the Nieuw Ensemble (Metempsychose 1999), the Netherlands Wind Ensemble (Acres Diver 1999, Petit Histoire 2001), the Radio Chamber Orchestra directed by Peter Eötvös (Qwerty 2003), and recently the young Belgian Ensemble Nadar (Monologue 2009). Tomas? interest in film rose over the years and after graduating high school, he decided to study film. He studied Film and Television at the University of Amsterdam for one year (2003-2004), worked on several film sets in Amsterdam for another year (2004-2005), and then moved to Belgium to study Film at the Royal Academy of Fine Arts in Ghent (2005-2009). Through the years, Tomas? musical background has always been a great influence on his work as a filmmaker. Strangers is Tomas? master graduation film for the Academy.

The video-installation The tape recorded surprise; Interview with I.J. starts from the intriguing life of South African poet Ingrid Jonker (1933/1965). Jonker became politically engaged in the fifties when she vehemently opposed a law imposing censorship on publications and entertainment. Her work was published in Drum, a clandestine ‘black’ magazine and rewarded South Africa’s most prestigious literature prize, but she was forgotten after her suicide in 1965. After the fall of the Apartheid-regime in 1990 Jonker became a figure of mythical proportions. Since then, Jonker’s texts and mediated identities are assumed, transformed into symbols then imbued with various meanings by interested parties. Actresses, biographers, admirers and politicians piece together Jonker’s story, growing it into something ghost- like – unfixed yet omnipresent. In the videowork two actresses are presented to us. Nicola Hanekom, recently played Jonker in a theatre-play. Grethe Fox, an older actress, knew Jonker when she was a child, and always wanted to play her. Paul Hendrikse worked with them and carried out various interviews. Subsequently he swapped the positions. Both actresses had to work together and try to close their respective gaps on both sides, each coaching the other on how to depict her falsified relationship to the iconic poet.

Paul Hendrikse biography Paul Hendrikse is a visual artist who lives and works in Antwerp and Berlin. His work explores the interfaces between historiography and fiction. In his search for alternative knowledge about historical events, Hendrikse shuns the big narratives in favour of individual micro-histories. It is an approach that expresses his rejection of the possibility of representing history in a single, authoritarian way. His projects – many of them performances or work of a performative nature – frequently result from prolonged and extensive research. This can culminate in a variety of media, including publications, installations, audio-visual work and performances. Hendrikse’s work has been shown in recent years at S.M.A.K. in Ghent, the Kunsthalle Basel, Onomatopee and the Contour Biennial 2013. He was awarded the Prix Jeune Peinture Belge, Prix Langui. in 2011. paulhendrikse.net

A detailed study of the architecture in a small German village slowly reveals an uncanny sense of displacement, erasure and doubling. New houses line freshly paved streets that all have the suffix  '-neu' at the end. This journey ends on the outskirts of the village, opening onto the pit mine that will displace the old village.

Juliane Henrich, born 1983, studied at the University of the Arts Berlin with Heinz Emigholz and Thomas Arslan and at the Bezalel Academy of Arts and Design Jerusalem with Avi Mograbi and Efrat Shalem. All films are represented by Arsenal Disbribution (Arsenal – Institute for film and videoart e.V.) Her work has been shown at Berlinale/Forum Expanded, Berlinische Galerie, International Short Film Festival Oberhausen, The Images Festival and ZKM Karlsruhe among others.

The film essay "From the West" opens with a child’s question of what ‘the West’ means beyond the cardinal direction, then goes on to retrace how ‘the West,’ as a model of society, inscribed itself in the Federal Republic of Germany’s postwar history and architecture. Long panning shots through unidentified West German cities alternate with interior footage of a house being cleared out. Long drives ‘ down highways, through suburbs and industrial zones ‘ traverse urban sprawl and car-friendly cities to the rhythm of abstract, mellow music inspired by evening news theme tunes. In the film’s searching movements, the narrator shifts among reflections on modern architecture and property relations, detailed scenes from childhood, and a passed-down memory of a ‘hemmed-in West Germany,’ recalling the years of her parents’ membership in a 1970s communist splinter group. Over and over, the rallying point is the single-family home ‘ which Konrad Adenauer and his contemporaries once touted as a bastion against the East and which Engels, much earlier, had decried as a tool for quashing rebellion. For all its deconstruction, West Germany also appears in the film as a site of childhood longing where everyone was ‘still tuned in to the same TV show.’

Juliane Henrich was born in 1983. She studied writing in Leipzig and media-art at the University of the Arts Berlin and the Bezalel Academy of Arts and Design in Jerusalem with Heinz Emigholz and Avi Mograbi. Her work has been shown at international film-festivals and exhibitions, among them: Forum Expanded/Berlin Film Festival (Berlinale) at Arsenal Cinema and Berlinische Galerie, HKW Berlin, International Short Film Festival Oberhausen, Duisburg Documentary Film Week, ZKM Karlsruhe, Visions du Reél/Nyon, The Images Festival/Toronto, DEAF-Biennale Rotterdam, Les Rencontres Internationales/Paris, Kav 16 Gallery/Tel Aviv, Hong-Gah Museum/Taipeh, and in different Goethe-Institutes. Her films are part of Arsenal disbribution (Institute for film and video-art).