Based on the legend of Blue Beard written by French author Charles Perrault (1628-1703), in this film adaptation however, neither the original blood nor the original murder make an appearance. These elements are replaced by a poetic research on the awareness of the death of the murderer Bluebeard and the dead women are replaced by mannequins, sometimes dragged, pushed or transported; other times, they seem to take on a life of their own.
The film is a humorous lecture on the internal structure of a dachshund. Parodying popular lectures at the same time, it contains a message about the superiority of the products of living organisms’ techniques and calls for respect for the environment.
Comedy shot without a script on Super-8mm as a silent film, with intertitles later inserted between scenes. What unfolds is a familiar Achternbusch tale in which the protagonist (here his alter-ego, Hick) is driven by a mad longing and becomes irretrievably lost. Unable to meet the demands of the workaday world, Hick wanders alone through the city and, as in many of Achternbusch’s films, enters an intermediate realm in which the dead interact with the living: he encounters and falls in love with a mummy, searches for an Egyptian queen, and stalks the inner regions of the hereafter, which lie in the middle of Munich.
In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.
A darkish journey down memory lane, to visit some news events, folkways and thought patterns associated with the late forties and early fifties. The film is also concerned with such perceptual phenomena as color-space, “false tones” caused by varying black-white alternations of simultaneously seen rhythms set up by multiple repetitive actions, and the use of image outlines as “containers” for other imagery. Sort of a working notebook, which is continued in Easyout and Down Wind.
The reunion of a group of former medical students results in a flood of bitter memories… An allegorical fiction between Cocteau and Brecht, making the portrait of a tormented society seeking for freedom. Censored by the Polish authorities, the film was reedited and new footage added by Skolimowski in 1981, merging an introduction in color shot at the time and the 1967 feature in his original B&W with a new director’s cut.
Zupa is a haunting and surreal look at the routine and obsessive coexistence of marriage; where the couple is condemned to repeat every act, every gesture, every mechanical caress; she is condemned to drink from the same soup, albeit from a different plate… until the routine is derailed and everything is over.
Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people – along with some drawings – to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat – washing up dead, stranded in the desolate landscape – as they are a threat – appearing suddenly and making people vanish.