The Complete Film ProgrammeAll films are shown at Bali-Kino, Bahnhofsplatz 1, Kassel (Kulturbahnhof) Ticket Rates: 6€/5,50€ (reduced)  Download
Film Programme / *.pdf-DateiShortfilm programme "All power to Super-8" (FRG 1981) (Friday, September 24th) Yana Yo: “Pommes frites statt Körner” (Chips Instead of Grains) 8 min. Berlin houses shadow and red traffic signs are assembled in a weirdly velocity, that enables one to have a new view at the former front city. Andrea Blesenkemper: „Schimmel“ (Mildew) 12 min. Blesenkemper deals with the ego and shows to the music of Patti Smith in reddish colors a suicide attempt. Walter Gramming: “Hammer und Sichel“ (Hammer and Sickle) 6.30 min. Gramming himself mixes to the stylization of the polical symbols hammer and sickle an elaborate collage of tunes using techniques of sampling and scratching. Knut Hoffmeister: “Berlin – Alamo” 9 min. Hoffmeister filmed out of a taxi the 1979 US-state visit. Hella Santarossa: “Die Enthüllung des Phantoms“ (The Phantom´s Revelation) 9 min. Santarossa´s film stylizes doing the laundry in a saloon to a performance. Thereby she anticipates the idea of a later jeans advertising spot. Axel Brand / Anette Maschmann: „Nur Geld ist aufregend“ („Only Money is Thrilling“) 12 min. A collage of aeroplanes, Spanish toreros on TV and 100 DM notes. padeluun: “Don´t Forget to Leave the Highway” 8 min. Three films in one: First a motorway ride across the republic, from the “Schwangere Auster” (Pregnant Oyster – nickname for the house of cultures) in Berlin to Freiburg. Then a visitation of a factory follows and everything ends in a wall collage. Ingrid Maye / Volker Rendschmidt: “Ohne Liebe gibt es keinen Tod“ (Without Love There is No Death) 7 min. The gaudiest film in programme, in which Ingrid Maye is hilariously frisking. Christoph Doering: “3302” 22 min. A taxi is driving through Berlin, picks up some guests, spits them out and a boy (Ben Becker) spits back. “There is a film e.g. by Christoph Doering, which doesn´t appeal to me at all. First of all this film was made with a screenplay, which is for me (stylistically) reactionary. Then additionally the content circulates too confusing across the events. Into the bargain that this film has a plot at all.” (padeluun in zitty) Shortfilm programme "Inner City Battlegrounds" (Part 1-3) (Thursday, September 23rd and Saturday, September 25th) René Uhlmann: “Punk Cocktail“ (CH 1977 - 1979 / 15 min.) „Punk Cocktail“ mixes in an extensive trick-technique among other a magnifier, needles, Mona Lisa and paper snippets. To the tunes of Blitzkrieg Bob birthday candles sink in a glass, coloured glas stones form a furious pattern to Kraftwerk´s Radiokativität and hundreds of cut out paper headlines resolve into a coloured mush. René Uhlmann: “Punk Zürich 1977 – 1979“ (CH 1977 – 79 / 25 min.) Compilation of early concerts of Dog Bodies, Sperma, and Mothers Ruin and the Super-8 camera is right in the middle of the audience and records everything in atmosperic long time exposure. In loud colours this film testifies the first gig of Kleenex in 1978 and two further gigs follow. Coarse grained footage of a gig of The Nasal Boys in the Rote Fabrik / Zurich, which shows the well deserved beer after the show and the clearing up of the stage as well. ostPUNK! (EastPunk!) (GDR 1979 – 84 / approx. 5 min.) Documental compilation of shootings of various illegal punk concerts. The footage is suggestive of the nihilism and the rough and frenetic energy standing for the early punk of the GDR, esp. East Berlin. Igor Basin presents: The Slovenian Punk Movement (YUG 1982 / 15 min.) Concert recordings of Pankrti. Harry Rag / Wolfgang Hogekamp: “Innenstadtfront“ (Innercity Front) (FRG 1978 / 89 / 20 min.) First there was music. In “Innenstadtfront” Harry Rag and Wolfgang Hogekamp authentically documented the atmosphere of departure in the music scene. With shootings of conterts by Mittagspause, S.Y.P.H., Wire and the early Cure, who standed in for the just disbanded Sex Pistols… Knut Hoffmeister: “Geile Tiere im Dschungel“ (Horny Animals in the Jungle) (FRG 1981 / 4 min.) Shows in ecstatic pictures a gig of underground band Geile Tiere. Captain Zip: “Death Is Their Destiny” (GB 1978 / 14 min.) Super-8 activist Phil Munnoch aka Captain Zip portrays in “Death Is Their Destiny” the punks of London´s Kings Road. Here the symbols of punk were invented and were checked for acceptability: badges, needles, swastikas, dyed hair. Punk looked “dangerously chick” (Peter Hein, singer of Fehlfarben). Klaus Maeck: “… denn sie wissen nicht, was sie tun sollten...“ (... because they didn´t know, what to do…) (FRG 1979 / 16 min.) Klaus Maeck, owner of the Rip-Off record lablel, approached towards the punks in Hamburg in a docu-fictional style: hanging around, drinking beer, and stealing. Trini Trimpop: “Die Schlacht an der Hasenheide“
(Battle at the Hasenheide) (FRG 1980 / 6 min.) Documentaries Saturday, September 25th "D.I.Y. or Die: How to Survive as an Independent Artist" by Michael Dean (USA/2002/60 min.) Michael Dean´s programmatic documentary “D.I.Y. or Die” fathoms methods and motivations of independent American artists, who work in several genres and medias as authors, performance artists, film-makers or musicians. Ian McKaye (Fugazi), Mike Watt (Minutemen), Lydia Luch, Jim Thirlwell (Foetus), film-maker Richard Kern, J. Mascis (Dinosaur Jr.), Ron Ashton (The Stooges) and many others have one´s say. "End of the Century" by Michael Gramaglia and Jim Fields (USA/2003/108 min.) On the basis of interviews with band members and contemporary witnesses as well as never before seen live and backstage footage Michael Gramaglia and Jim Fields depict with “End of the Century” the vital and candid document of one of the most influential groups in history of rock. Founded in Queens / New York in 1974 the band became the darling of the New York underground in a little while and in 1976 they kick off with their London gigs the punk explosion in the old world. After good times follow bad times and so the film portrait is about alcohol and drugs, dispute and exploitation in the music business. If you want to know why Joey and Johnny were not on speaking terms in the last years of band history, you have to see “End of the Century”, which so far was merely shown at the Berlinale. |
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