main attraction by Mario DeGiglio-Bellemare

Directors Lounge Presents: Bizarre, Hypnotic, Wonderful

Directors Lounge at Mitte Media Festival 2019. – Bizarre, Hypnotic, Wonderful – Selected Gems from the DL Archives. Get lost on a visual trip to the surreal, mystical and mesmerizing realm of bizarre, hypnotic and wonderful movies. Including works by Anton Corbijn, John Christopher Gibson, Guy Maddin, Mario DeGiglio-Bellemare, Allan Brown, Roger Deutsch, Masha Godovannaya. …

Pripyat — the Uncanny of Modernity

Thursday, 22 March 2012
Bergstr. 2
D-10115 Berlin-Mitte

U-Rosenthaler Platz

One year after the Fukushima disaster and 26 years after the explosion of the Chernobyl reactor, the discussion on civil nuclear energy has again reached the “normality” of planning for new power plants. Over the same time, Pripyat the destroyed young Sowjet city, now situated in Ukraine, has gained an eerie attraction. Firstly presented in Freiburg DE, the collected films allow a discussion of the human imagination triggered by nuclear energy and nuclear disasters beyond excited press news.

Presented by Klaus W. Eisenlohr. The film program comprises films representing visions of the abandoned city of Pripyat by artists and documentary filmmakers, and imaginations of futures under the influence of “peaceful nuclear energy”.

Artists list:
Hanne Adam + Thierry Buysse,
Klaus W. Eisenlohr,
Gair Dunlop,
Andrea Slavik,
Vanessa Renwick,
Anders Weberg,
Sarah Breen Lovett,
Nicky Larkin,
Julio Soto

More infos at:

Directors Lounge Screenings:  

Petra Lottje + Curtis Burz 

video works
Donnerstag, 29. Sept 2011


Bergstraße 2

10115 Berlin-Mitte

Directors Lounge präsentiert ein Programm mit Petra Lottje und Curtis Burz. Beide Künstler, aus ganz unterschiedlichem Hintergrund, Bildende Kunst bei Petra Lottje und die dokumentarische Tradition europäischen Kinos bei Curtis Burz, befassen sich mit zwischenmenschlichen Beziehungen. Ob diese nun eigentlich „auf der Spur“ sind (on track) oder „abseits der Spur“ (off track) bleibt auch über die ambivalente Benutzung der Medien oder des Recordings bei beiden Künstlern offen, oder hängt davon ab, welchen Blickpunkt der Beobachter (Zuschauer) selbst einnehmen will.

‚Sprache bildet in zahlreichen Videos Petra Lottjes den Ansatzpunkt der Auseinandersetzung. Sie kombiniert Tonsequenzen aus unterschiedlichen Spielfilmen, verleiht ihnen körperlichen Ausdruck und setzt sie in neue Zusammenhänge. … Heute ist jeder Protagonist seines eigenen Films, doch wie eigen ist dieser Film wirklich? Und wie sehr sind wir selbst Medien kollektiver Stereotypen?’ (Susanne Husse, 2010)

In drei Episoden aus dem dokumentarischen Essay „Ich habe Dir nie erzählt, womit ich mein Geld verdiene“ (2011) erzählt Curtis Burz von Menschen, die sich scheinbar in der Mitte der Gesellschaft bewegen, aber doch nur „vom Rand“ aus zuschauen. Die Geschichten basieren auf Interviews, die der Regisseur in der Zeit 2008-2010 geführt hat.

(Kuratiert von Klaus W. Eisenlohr)



Presented by Klaus W. Eisenlohr. The film program comprises films representing visions of the abandoned city of Pripyat by artists and documentary filmmakers, and imaginations of futures under the influence of “peaceful nuclear energy”.
Gair Dunlop confronts historical material about the glorious future that Dounreay Atomic Research Establishment would provide with his own camera footage, shot after the shut-down of the research power plant (Atom Town: Life After Technology). Now a ruin that still radiates, Dounreay does not attract nuclear tourists, unlike Chernobyl, which has become a popular destinations for photographers and other contemporary “explorers”. Julio Soto presents his imagination of cities after a climate or nuclear catastrophe in virtual images (Invisible Cities) just before he went to Pripyat himself in order to make a documentary about past and present inhabitants of the forbidden zone (Radiophobia). Vanessa Renwick in glorious pictures celebrates the good-bye to Trojan, a power-plant in the US that may be the equivalent to Brokdorf in Germany concerning the long-lasting local protests, but which was never going on-grid (Portrait #2: Trojan). And Thomas Bartels reflects in poetic pictures of 16mm film the mood of the year 1986, now almost a documentary of the mood in Germany under the influence of the clouds of Chernobyl (Zwischenlandung).

Chernobyl may have become the symbol for the crumbled future visions of modern prosperity made possible by peaceful nuclear energy, and for the apocalyptic imaginations of a modern catastrophe. However, it has also triggered an array of aspirations for adventures. Maybe less so the actual melted and broken reactor, shielded under a crumbling “sarcophagus” but the ghost town Pripyat, once a young modernist city, has become a collective iconographic symbol for the uncanny modernity that seems to attract people in many ways.

pripyat — the uncanny of modernity

Tuesday, 20 Sept 2011
Kommunales Kino Freiburg
Alter Wiehre Bahnhof
Urachstr. 40
79102 Freiburg im Breisgau

press links:

Program infos:

Jakob Kirchheim


film and video works
Thursday, 28 July 2011
Bergstraße 2
10115 Berlin-Mitte


Jakob Kirchheim combines different art genres in very personal ways, genres that usually are not connected with each other. He creates films and paintings using linoleum prints. The seriality of printing initially made the artist experimenting with film. He has used a variety of animation methods without leading him to classic animation forms. The ways Jakob Kirchheim also includes words and maps then results in political meaningful references, and they partly remind of the styles of agitprop from the 1920’s, but also from the 60’s and 70’s. However, the artists likes to see them as media references rather than just bold political statements. These references seem to say, «Agitprop? Isn’t that pure poetry, anyways?» Already in 1987, Jakob Kirchheim conceived his first «Linolfilm», a stop motion film based on linoleum prints as a combination of words and images. Since then he further developed his film techniques using photographs, collage techniques and live footage, and he thus has produced over 20 experimental animation, poetry and documentary films.

Artist Link:


More infos at


Experiments in Cinema v5.1 is an annual film festival in Albuquerque, directed by Bryan Konefsky, which showcase the most indie and underground movies in the world. Tonight we will screen an assortment from the 2010 edition of Experiments in Cinema v5.1. A sneak peek into an indeep presentation, sheduled for May 2011, selected by Alexei Dmitriev and Andre Werner.

Join us for a summer night with barbecue and fine drinks at the DL Base, F´hain.

Petersburger Platz 2, Berlin-Friedrichshain
U 5 Frankfurter Tor M 10 Strassmannstr

doors open 9pm

pictured: Guild Marquee by Experiments in Cinema V5.1

Z-Bar, Thurs, 24th

Film and Video are media of time, maybe even more so than any other medium. The frozen time, the preserved time, as well as the composed time are even more constitutive for experimental film and art videos than for narrative film. Not only Deleuze pointed out, that film at it´s height is “temps-image” instead of “movement-image”, though he referred to European narrative cinema; also Peter Kubelka stated: “film is not movement, quite the opposite, while projecting film, every thing is being undertaken to technically prevent showing the movement of the film strip”. It is time, however, to bring together some Berlin friends of experimental film and Directors Lounge, and under the headline of “time”. Please come and meet the artists; many of whom will be present, at the program at Z-Bar Berlin.

Directors Lounge at Z-Bar, Thursday, 24 June 2010, at 21:00

The program comprises films and videos by Aline Helmcke, Andreas Gogol, Dagie Brundert, Deborah Phillips, Heiko Daxl, Ingeborg Fülepp, Jens Lüstraeten, Klaus W. Eisenlohr, Max Hattler, Myriam Thyes, Sandra Becker 01, Telemach Wiesinger, Thorsten Fleisch, Ute Reeh

a programme of artists moving image curated by Kerry Baldry

This touring programme is the forth in the series, an eclectic range of moving image with formats such as 16mm film, Super 8, video, stopframe animation, superimposition, all constrained by a time limit of one minute.

One Minute Volume 4 includes work by:
Katharine Meynell, Jonathan Moss, Eva Rudlinger, Chris Meigh Andrews, Martin Pickles, Gordon Dawson, Sam Renseiw and Philip Sanderson, Tony Hill, Laure Prouvost, Stuart Moore and Kayla Parker, Kerry Baldry, Alex Pearl, Steven Ball, Anahita Razmi, Kate Jessop, Bob Levene, Erica Scourti, Elizabeth Hobbs, Liam Wells, Claire Morales, Michael Cousin, Tina Keane,Virginia Hilyard, Riccardo Iacono, Fil Ieropoulos, Marty St. James , James Snazell, Stuart Pound, Richard Tuohy, Simon Payne, Tansy Spinks, Louisa Minkin, Zhel Vukicevic, Leister/Harris, Nicki Rolls, Nick Herbert, Daniela Butsch, Michael Szpakowski, David Kefford, Cate Elwes.

Fri June 4th, Meinblau, Pfefferberg

doors open at 8pm, screening starts at 9pm

please be on time

pic using a still of Cloud Mime by Gordon Dawson

our May screening, Fri 7th at the Meinblau.

Friends & Lovers, curated by Alexei Dmitriev and Andre Werner is a shameless biased selection of personal favorites. “There is a bunch of folks who’s films we find great and whom we then met in person and found them great too. It’s a gang. It’s a family. That’s what “Friends & Lovers” are about.” A. D.

Featuring Usama Alshaibi, Thorsten Fleisch, Masha Godovannaya, Jean-Gabriel Periot, Keith Sanborn and Zhen Chen Liu, just to name a few.

The screening will be followed by an audiovisual concert of Bedroom Bear.

Bedroom Bear — a solo project of Sergei Dmitriev — dreamy and thoughtful
new new age made with only hardware devices from Saint Petersburg, Russia.
Combining psych folk aesthetics with melodious lo-fi, he recreates the
scent of Karelian forests.

Fri May 7th, Meinblau, Pfefferberg

doors open at 8pm, screening starts at 9pm

please be on time

photo: Sergei Dmitriev