HUNTING DOWN ECSTASY

Buñuel, Bergman and Genet meet in Max Sacker’s Belle de Lyon

by Kenton Turk

“I should punish you.” The line comes later in the film, but could just as well accompany the initial shots. Opening with dank halls, a caged rat and Nikolai Kinski setting up a miniature guillotine, you could expect to be soaked in dreariness in Max Sacker’s ten-minute short, but it soon turns to the distance of a cinema setting and a turnabout of the standard roles, with beauty sitting firmly in the audience, and not flickering up front, larger than life. This turns again and again, so that it not always clear if we are watching the audience from the screen or vise versa. In this way, the tone is set for the ambiguities that the film explores in pictures and words Belle de Lyon is a determined collage of moments, the sort of images that accompany a night sweat. In large part a take on Buñuel ’s out put, spanning his black-and-white earlier works and culminating with his first colour feature, Belle du jour, Sacker’s film honours beauty and implied horrors.

The disturbing (Un Chien Andalou’s infamous eye-slicing scene) jockeys for attention next to the comforting (fields bathed in pastel sunsets), the connection being that every scene, every moment is a picture, literally, with an ever-present camera reminding of the viewer of his voyeurism, and that of film in general. Indeed, this is watching the watcher watch the watcher, layers of voyeurism draped over layers of film references. Midway through comes a sequence of Bergmanesque arrangement and stares, making the relative fluidity of the opening and closing sequences bookend swaths in a formal symmetry. Defining direction throughout is an aphoristic romp through words whispered, spoken and occasionally printed out to fill the frame, banners of proclamation that feel like poetic penetration. Jean Genet’s and Harry Crews’s askew logic on love and its attendant pain get headline treatment: ecstasy in betrayal, ecstasy in vengeful annihilation. Valeria Piskounova (Deneuve/Séverine), a Candy Darling clone, strolls through like a work in soft marble. Kinski’s face complements hers with a bevelled angularity that matches his nuanced and shifting earnestness. There isn’t a moment you couldn’t frame; few you wouldn’t bathe in. Even if pain necessarily attends or even intensifies ecstasy, you rarely see the two look better partnered to each other than here.

“Belle De Lyon” will be screened during the 10th Berlin International Directors Lounge [DLX], Feb 6 – 16, 2014  in DL Selection IV:Sat 8 | 9pm | space A

the complete program

GREAT READ-OUT #4: LIVING STEREO | Thursday, December 6 at 8:00 pm

EVGENIJ VERENIN | ULRICH MEINECKE

(German version below)

Hailing from Odessa, Evgenij Verenin came to Germany in 1994. A steady fixture in theatre, film and television productions since 2006, he gained attention in the successful German mini-series Im Angesicht des Verbrechens as well as in Sinbads Rückkehr and Die vierte Macht. And he does a mean tango as well (!).

Ulrich Meinecke is a Berlin actor and voice-over artist – in front of the camera, on stage and behind the microphone. In the theatre already seen as the Marquis de Sade and more, soon on the big screen as a mad scientist in Errors of the Human Body, a regular reader at Sputnik cinema’s “Kreuzberg liest” series and now here at the “The Great Read-Out!”

In “Living Stereo,” the two actors will be reading/performing stories not in tandem but together, in stereo. Something for both ears, and the grey matter between them.

St. Nick’s Day with a literary twist!

Creative director: Kenton Turk | supported by Directors Lounge

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. or U-Leinestr.; also Bus 104 + 167, stop: Herrfuhrtstr.). Thursday, December 6 at 8:00 pm, in German (with a pinch of Russian, plus English Intros).

In Odessa geboren, Evgenij Verenin kam 1994 nach Deutschland. Seit 2006 in diversen Theater-, Film- und Fernsehproduktionen zu sehen, erlangte er Aufmerksamkeit in der erfolgreichen deutschen Miniserie Im Angesicht des Verbrechens sowie in Sinbads Rückkehr und Die vierte Macht. Und Tango tanzen kann er auch (!).

Ulrich Meinecke ist Berliner Schauspieler und Sprecher – vor der Kamera, auf der Bühne und hinterm Mikrophon. Im Theater u.a. schon als Marquis de Sade, demnächst im Kino als verrückter Wissenschaftler in Errors of the Human Body, regelmäßig als Vorlesender im Sputnik-Kino bei „Kreuzberg liest“ und jetzt hier beim „Great Read-Out“!

Bei „Living Stereo“ werden die beiden Darsteller Geschichten vorlesen/performen, nicht abwechselnd, sondern zusammen, in Stereo. Etwas für beide Ohren und die grauen Zellen dazwischen.

Nikolaus einmal literarisch anders!

Creative director: Kenton Turk | unterstützt von Directors Lounge

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. oder U-Leinestr. sowie Bus 104 + 167, Haltestelle: Herrfuhrtstr.). Donnerstag, den 06. Dezember um 20:00, in deutscher Sprache (mit einer Prise russisch, dazu englischen Intros).


GREAT READ-OUT #3: AFRIKEURASIA! Thursday November 1 at 8:00 pm

LUDMILA ASIPIENKA | SEBASTIAN LONG

A young man finds a novel way to sneak his country’s language back into the public library, ever new ruses trick hopeful students again and again out of their time and into unpaid labour, teachers complete their households with a constant stream of gifts from demanding parents… Belarus, Europe’s best-kept secret, is a land-locked and politically-locked country around the corner, yet worlds away.

The young author Ludmila Asipienka first made her way to Berlin for a series of Grüner Salon readings through interpreters to accompany her book Kastus’ Journal,* relating the mad but often unwittingly amusing situation surrounding a fresh generation of young Belarusians reluctant to toe the line in Europe’s cultural gated community. Now at home in Berlin and with the German language, she shares her accounts for the first time in her own voice…. (Reading in German with English introduction)

Stunning natural beauty and hospitable natives contrast mind-boggling bureaucracy, the lingering spectre of apartheid and the occasional realization that Borat wasn’t all that wrong… Vietnam, Uzbekistan, South Africa and stations between are subjected to the perceptive man’s eye, and neither the dazzling nor the dubious escapes, whether dressed down or dressed up.

Bloggernaut Sebastian Long has shared his wry and perceptive observations with who-knows-how-many on his popular English and German blogs for years. Now the tireless traveller and young doctor reads from his notes and anecdotes for the first time in person. Africa and Asia like the guidebooks don’t always tell it…. (Reading in English and German)

Two writer-observers taking their tales from real life, both with a sharp eye for lurking irony and the nitty-gritty under the surface. “Afrikeurasia!” is presented within our regular monthly series of readings and as part of the intercultural festival “Woche des Besuchs” (Oct. 28 – Nov. 4).

*co-written with Katarzyna Kwiatkowska, German title: Unerwünscht zu Hause – Belarussische Studenten im Exil.

Creative director: Kenton Turk | supported by Directors Lounge

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. or U-Leinestr.; also Bus 104 + 167, stop: Herrfuhrtstr.). Thursday, November 1 at 8:00 pm, in German and English.

german:

  Ein junger Mann findet einen neuartigen Weg, die Landessprache wieder in die öffentliche Bibliothek hineinzuschmuggeln; hoffnungsvolle Studenten werden mit immer neuen Tricks ihrer Freizeit beraubt und zur unbezahlten körperlichen Arbeit gezwungen; Lehrkräfte richten ihre Haushalte mithilfe von einem andauernden Strom der Geschenke von fordernden Eltern ein… Belarus (Weißrussland), das best gehütete Geheimnis Europas, ist ein Binnenstaat und politisch gesperrtes Land unweit unserer Grenzen, aber jedoch Welten entfernt.

Die junge Autorin Ludmila Asipienka machte sich zuerst auf den Weg nach Berlin für eine Reihe von durch Dolmetscher ermöglichten Lesungen im Grünen Salon anlässlich des Erscheinens ihres Buchs Das Tagebuch des Kastus,* das die irre aber oft unabsichtlich irrwitzige Situation einer frischen Generation junger Belarussen erzählt, die abgeneigt ist, sich in Europas kulturellen „gated community“ einzufügen. Jetzt zu Hause in Berlin und vertraut mit der deutschen Sprache, teilt sie ihre Berichte zum ersten Mal mit ihrer eigenen Stimme… (Lesung in deutscher Sprache mit englischer Einleitung.)

  Atemberaubende Naturschönheiten und gastfreundliche Einheimische stehen im Kontrast zu irrsinniger Bürokratie, dem anhaltenden Gespenst der Apartheid und der gelegentlichen Erkenntnis, dass Borat vielleicht nicht immer so falsch lag… Vietnam, Usbekistan, Südafrika und Stationen dazwischen werden einem scharfsinnigen Auge ausgesetzt, und weder das Strahlende noch das Suspekte kann ihm entkommen, ganz gleich ob heruntergespielt oder herausgeputzt.

Bloggernaut Sebastian Long hat seine ironischen und scharfsinnigen Beobachtungen mit wer-weiß-wie-vielen auf seinen beliebten englisch- und deutschsprachigen Blogs seit Jahren geteilt. Jetzt liest der unermüdliche Reisende und junger Arzt aus seinen Notizen und Anekdoten zum ersten Mal persönlich. Afrika und Asien wie die Reiseführer sie nicht immer auftischen… (Lesung in englischer und deutscher Sprache)

Zwei Schreiber-Beobachter, die ihre Geschichten dem wirklichen Leben entnehmen, alle beide mit einem scharfen Auge für lauernde Ironie und das Wesentliche unter der Oberfläche. “Afrikeurasia!” wird in unserer regelmäßigen monatlichen Lesereihe und auch als Teil des interkulturellen Festivals “Woche des Besuchs” (28.10. – 04.11.) präsentiert.

*mitgeschrieben von Katarzyna Kwiatkowska, deutscher Titel: Unerwünscht zu Hause – Belarussische Studenten im Exil.

Creative director: Kenton Turk | unterstützt von Directors Lounge

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. oder U-Leinestr. sowie Bus 104 + 167, Haltestelle: Herrfuhrtstr.). Donnerstag, den 01. November um 20:00, in deutscher und englischer Sprache.

GREAT READ-OUT #2: BIG CITY STORIES Thursday, October 4 at 8:00 pm

FELIX FRENZEL | KENTON TURK

Kenton Turk returns with more from his bottomless pit of twisted worlds from the lost-and-found of human oddities.

Ein Mann findet sein Leben verdoppelt, einem anderen entgeht eine Affäre, ein Dritter findet inmitten des Alltags heraus, wie zerbrechlich sein Dasein ist. Texte, die eindeutig geschrieben sind, aber offen bleiben für Interpretationen.

Es geht dem Autor Felix Frenzel um existenzielle Erfahrungen im gewöhnlichen Leben. Sein Stil tastet sich dabei immer haarscharf am Realismus entlang – und durchbricht ihn, wenn er es für nötig hält. Er schreibt Prosa, die unterhaltsam ist und dabei zum nachdenken anregt. (Lesung in deutscher Sprache.)

Ein Loser sucht das große Geld mit einem Gammler, ein überdimensionierter Drogenkurier sinnt über neue Beengtheit nach, jemand mit der Oberhand übt seine absolute Macht aus… die Großstadtlandschaft erzeugt ihr seltsames Gemisch, jede Geschichte einzigartig, aber dennoch nur eine unter Millionen.

Kenton Turk ist wieder da mit mehr aus seiner endlosen Quelle der verdrehten Welten aus der Fundgrube der menschlichen Kuriositäten. Auch bekannt durch seine fortlaufende Arbeit mit der Berlin International Directors Lounge, seine Streifzüge in die literarische Sphäre bringen Geschichten hervor, die im Wechsel bewegend, amüsant und grotesk sind, fest jenseits der Komfortzone. (Lesung in englischer Sprache.)
 …..

A man finds his life doubled, an affair eludes a second, a third discovers in the midst of everyday life how fragile his existence is. Texts that are clearly written, but remain open for interpretation.

Felix Frenzel is concerned with existential experiences in ordinary life. His style makes its way perilously close to realism – and breaks through it, if he deems it necessary.
He writes prose that is entertaining and thought-provoking. (Reading in German.)

A loser seeks big money with a down-and-outer, an oversized drug-runner contemplates new confinement, someone with the upper hand wields his absolute power… the urban landscape produces its curious mix, each story unique, but only one among millions.

Known as well for his ongoing work with the Berlin International Directors Lounge, Kenton Turk forays into the literary sphere spawn tales in turns moving, amusing and grotesque, squarely beyond the comfort zone. (Reading in English.)

A cool thing to do. Sit back, sip a cognac or a coffee, a brandy or a beer, and let yourself get seduced into left field. The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. or U-Leinestr., also Bus 104 +167, stop: Herrfuhrtstr.).
Donnerstag, den 4. Oktober, 20:00, auf deutsch und englisch.

Thursday, October 4 at 8:00 pm, German and English.

Kenton Turk: The Great Read-Out #1

The Great Heisenberg begins its series of “Great Read-Outs” with Kenton Turk, whose stories prove at turns tantalizing, tortured, touching and twisted. Here, seemingly average folks reveal extraordinary features, brains are turned inside out to reveal the inner workings, and some get what they deserve while others don’t. Or maybe do, depending on your take on things.

Details and German text after the jump

A Greek holiday ends in a hopeless and bizarre quest, a Siberian babushka is revealed to have a sinister core, a lacklustre guesthouse maid between the Wars turns out to be a touch too curious, a man cannot curb a voracious appetite that goes beyond food, what seems to be a baby is the subject of furtive gossipy speculation, and more. These stories will take you out there – but possibly not bring you back.

A cool thing to do. Sit back, sip a cognac or a coffee, a brandy or a beer, and let yourself get seduced into left field.

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. or U-Leinestr., also Bus 104 +167, stop: Herrfuhrtstr.). Thursday, August 30 at 8:00 pm, in English.

“Enthralling, original and deeply moving.” – Michael Roes, author of Rub’ al-Khali – Leeres Viertel, Die fünf Farben Schwarz, Die Laute, and other works.

GREAT READ-OUT #1 – KENTON TURK [German]

The Great Heisenberg beginnt seine Reihe der “Great Read-Outs” mit Kenton Turk, dessen Geschichten sich im Wechsel als verlockend, verabscheuend, verwunderlich und verdreht erweisen.
Hier offenbaren scheinbar durchschnittliche Menschen außergewöhnliche Eigenschaften, Gehirne werden umgedreht, um das Innenleben zu zeigen, und einige bekommen was sie verdienen, während andere nicht. Oder doch, abhängig davon, wie man die Dinge sieht.

Ein Urlaub in Griechenland endet in einer hoffnungslosen und bizarren Suche; eine sibirische Babuschka enthüllt einen finsteren Kern; ein glanzloses Gästehaus-Dienstmädchen zwischen den Weltkriegen zeigt sich etwa zu neugierig; ein Mann kann einen unersättlichen Appetit, der übers Essen hinausgeht nicht bändigen; was ein Baby zu sein scheint ist das Thema heimlicher, geschwätziger Spekulation, und mehr.

Diese Geschichten werden dich dahin bringen – aber möglicherweise nicht zurück.

Eine ziemlich coole Sache. Lehne dich zurück, genieße einen Cognac oder einen Kaffee, einen Brandy oder ein Bier und lass dich in den heiteren Himmel verführen.

The Great Heisenberg, Schillerpromenade 11, Neukölln (U-Boddinstr. oder U-Leinestr. sowie Bus 104 + 167, Haltestelle: Herrfuhrtstr.). Donnerstag, den 30. August um 20:00, in englischer Sprache.

„Spannend, originell und zutiefst anrührend.“ – Michael Roes, Author von Rub’ al-Khali – Leeres Viertel, Die fünf Farben Schwarz, Die Laute, u.a.

(via placeboKatz)

Directors Lounge @ Shortcutz, Father´s Day, May 17th, 2012

presented by Kenton Turk and Andre Werner

We were kindly invited by shortcutz Berlin to their last Berlin session at the cozy Filmkunstbar Fitzcarraldo.

Simon Ellis Telling Lies 4 min 20s
Telling Lies is a cascade of spoken untruths and projected truths … a darkly humorous bombardment of words and tone.

Masha Godovannaya
RU Untitled #1 4 min, S8, musical score LU
“While walking along Nevskiy Prospect in St. Petersburg, Russia,
I saw a young girl dancing this harsh, passionate and seductive dance.”
Brilliant editing and the bedazzling score by composer LU create a movie of suggestive beauty.

Andre Werner DE “Die Augen Der Menschheit”, 2007, 14 min 39 s
The Eyes Of Mankind is a true Directors Lounge production. From the production management to light and makeup, nearby all credits go to members of the gang. Starring Marbo Becker, Daniel Schubert and N.E.M. as the female lead.

Join us at the Filmkunst Bar FitzcarraldoReichenberger Straße 133 in Kreuzberg. The session starts as always at 8:30 pm and the screening at 9 pm. Entrance is free.
See you all on Thursday!


pictured: Marbo Becker as Walter in the Eyes Of Mankind by Andre Werner

photo: kt/DL

THE GREAT SWIM ACROSS THE CHANNEL

Swimming” in Berlin, Privatclub, 27.03.12

John Sampson is a good guy. More than that, he’s a good singer, a very good one, and the young Englishmen surrounding him on stage are good too, at least from the sound of things. Surprisingly good, to be more precise. Swimming by name, they are playing to nodding heads and swaying bodies in Berlin’s Privatclub, not their first trip to this city. The music is a shifting mix of fibrous tonal guitar waves punctuated by John’s quavering vocal trail, itself a hybrid of conversational melodic statement and benevolent falsetto. Not bombast and not understatement, the music is also much more than simply a comfortable compromise in between. The band is loud, and guitar strings are occasionally attacked to within an inch of their existence. This goes over very well. Despite the low ceiling in the venue and its determination to throw the sound back at the audience in a distorted din, the band plays like there was a great blue sky over their heads. Drummer Peter Sampson is concentrated and of athletic aim, while guitarist Joff Spittlehouse, bassist Blake Pearson and keyboardist Sam Potter veer between solid stance and more fluid moves.

Among the throng is multi-award-winning filmmaker Simon Ellis, who has come down from Hamburg, where he is working on a trailer for the Hamburg Short Film Festival, to see his friends play, although they’ll be in the Hanseatic City the next day for the last stop of this tour. Theirs is a fruitful trade-off, with Ellis making most of the band’s videos, and Swimming providing inspiration for Ellis, as with the film “Binaural Swimming (Beach)”, which had its World Premiere during Ellis’s retrospective at [DL8] (the 8th Berlin International Directors Lounge) in February this year. He brought John along for the occasion.

The show increases in intensity before ending, with the guys on stage moving their well-meaning assault on their instruments up to a tornado-grade rush of layered melodic energy before bidding good night and disappearing into the relative sanctuary of backstage. The feeling on the ground is good, like seeing after-images of fireworks, but in your ears. Swimming has surely just added to their followers. Norwegian indie-stars Megaphonic Thrift, also playing here tonight, are luckily not in competition.

Outside after, I chat a bit with the singer. John gets my vote if anyone’s looking to cast St. Francis of Assisi. Already in Berlin in February, moving around the goings-on at [DL8], he displayed some of that hypnotizing inner peace that is a rarity in people who can belt their lungs out. Now, on the subject of the current state of things, he talks of “shedding old skin”and quickly correlates this to the name of the new single, “All Things Made New,” from the optimistically titled Ecstatics International. Sam, the keyboardist, is a new man on board, replacing Andy Wright. What else is changing? Before I can follow this line, a demure voice asks something. Two Russian girls have made their way to the show and speak in quite good English, but with enough accent to make them exotic. They seem shy. They talk to John but appear anxious to meet his brother, Peter. They first encountered him when he played in the far-flung Russian industrial city Perm, a million inhabitants sidled up near to the European side of the Urals. Peter, it should be noted, has a musical alter-ego: as THePETEBOX (the preferred configuration of capitals and lower-case), he has a fanbase all his own, and it is a widespread one. Blake joins us and he and John sign CDs for the girls. The latter win points with me by understanding my Russian.

Peter emerges from inside. He is somewhat harder-edged in appearance than his brother John, looking a bit like he’s seen some underbellies John might have been spared. They may yet come. It’s a good bet that Swimming won’t be submerging all too soon. When the girls address him, he seems polite enough but somewhat tired and not sure who they might be. They talk some more; he sifts through his memory and then places them. Peter is a busy man, with THePETEBOX doing his thing on various continents, and Swimming (and another project, We Show Up On Radar) filling in what time is left. THePETEBOX gets around to places Swimming has yet to hit.

Sometimes, it seems, it can go the other way around, with the audience coming to you. John tells me a girl once travelled from Marseille to London to see a Swimming gig, and ended up living with the (then) keyboardist. How far do you have to go to keep a fanbase? Or, the other way: does being a musician really have that many perks?

Another girl approaches. She is German, but first saw the band when living in Britain. She talks to Blake, who seems unassuming, not the one you’d pick to be the art-man of the outfit, but the covers and other paraphernalia are, I’m told, made up of images from his hand and mind. As far as I can make out, in hiding behind another moniker. Another alter-ego. When Joff (a.k.a. Jonathan) joins them, John and I get back to talking about what’s afoot these days. This brings us to Simon Ellis. They met back in Nottingham when Ellis came to a gig of theirs and said “a lot of nice things” about them afterward. Ellis has since dedicated a great deal of time to the boys from his home town, and it seems to be paying off. As well, they have begun to pay back in individual style – at least John. Presently, he is doing the music to Ellis’s trailer for the Hamburg Short Film Festival. Anything like Swimming?, I want to know. “Dance beats,” he answers. Not really what Swimming sounds like, even of their last album is pop-friendlier than the debut The Fireflow Trade. Talking of his efforts, he refreshingly uses pictures to describe sounds, rather than references to instruments and studio tricks. The music he is working to achieve here will feel like “flying at low level, low enough to see the whites of your eyes from the ground.” It is left to me to figure just how you put this into music, but I appreciate this visual-to-musical leap. He thinks the way I do.

It all sounds like a well-oiled machine. No catastrophes to speak of tonight either, save Blake’s hand catching fire backstage from a flaming Sambuca. All quiet on the continental front, eardrum-threatening volume aside. Did you make any mistakes tonight, I ask. “Nothing but mistakes, a united intent of mistakes,” he quips, his eyes gleaming. No, these guys haven’t made any major mistakes yet, from the looks of things.

And from here…? “I don’t know, world domination?” John laughs. Joff is now listening in, his demeanour loose and relaxed, although John says he is the one whose fingers can move in blur speed on the guitar. “The next album will be imbedded directly in your mind, like in that movie with the dreams….” He fights to come up with the name; Joff helps him recall it. “Yeah, like in Inception.” No question about their wanting to come in through the front door, maybe without knocking.

The world may belong to them yet. Right now, on a planet peopled by the bad and the good, Swimming still number among the good guys. And fairly high on the scale, too.

(Kenton Turk)

Amusement Park of Glowing Dreams

Filmmaker and Directors Lounge fixture Klaus W. Eisenlohr took the gathering on hand at Z-Bar’s screening space (22.03.12) on a rollercoaster ride to and through the Atomic Age’s forbidden zones with his curated program “Pripyat – The Uncanny of Modernity”. Not only Pripyat, Chernobyl’s ghost-ridden neighbouring city, but also other nuclear oddities were shown in light of a global fascination whose half-life is not yet known. This aesthetic preoccupation and its uneasy place in the nuclear discussion were at the heart of the selection, rather than any purely documentary vehicles or didactic essays. Several films in the 90-minute set were little more (but nothing less) than hazy imagery, as in the opener, Anders Weberg’s Peaceful Atom (SE), a multi-planed soup of impressionistic smears revealing forms and sounds. Nicky Larkin’s Pripyat (IE) followed, with static shots accompanied by howling winds and the incessant buzzing of flies. The deserted city emerges as a modern-day Angkor Wat, with radiation as the unseen jungle. Black figures painted on walls hark back to Pompeii’s ashen corpses, victims of a similarly sudden fate. Finally, Lenin’s face emerges, as lifeless and frozen in time as the scene he presides over. Immaterial Meshup (Sarah Breen Lovett, AU) opens on a television and takes us swiftly to futuristic cityscapes of Metropolis and Blade Runner, uniformly black and white and swathed in aphorisms. Other standouts included Gair Dunlop’s Atom Town: Life After Technology (UK), running newsreel propaganda footage on the Dounreay facility in split screen next to mostly colour updates of the same scenes, silent sentries to a then unknown future (its sentimentally greeted disengagement), wordlessly speaking louder than the narrator’s voice from the screen’s other half. Vanessa Renwick’s Portrait #2: Trojan (US) puts an atomic silo before intensified sunset views resembling Group of Seven stylization, then lets us witness the controlled demolition of the ominous tower. Eisenlohr’s own Phantasma Pripyat (DE) wove cascading found footage between flutter-by landscapes and computer games into a look at Elena Filatova’s counterfeit motorcycle tour in the forbidden zone around Chernobyl. Ribbon text website comments chase snippets of facts and each other so that the viewer is swimming in a sea of truths, half-truths and outright lies or flights of fancy that well represent the muddle of (mis)information that characterized the event. A discussion followed the films, with varying views on the attraction to voyeurism and its legitimacy. Eisenlohr’s Urban Research presentations run with monthly regularity, offering windows to the grand scheme of things cosmopolitan. In addition, they provide thematic pillars in the annual Berlin International Directors Lounge, back for its ninth incarnation in February 2013. Kenton Turk


pictured: Phantasma Pripyat by Klaus W.Eisenlohr

DAY 6,Feb. 14

FROM UNDERWEAR TO OVERKILL, OR B-CUP TO B-GRADE

Dessous take front and centre stage at 18:00 (6pm) at the 8th Berlin International Directors Lounge, a.k.a. [DL8] tonight, with the so-named program of short “Bra-Fitting” (World Premiere) and feature “Buy Me!” bringing a girl’s boldest obsession together with the world’s oldest profession. Then at 20:00 (8pm) we switch from street-walkers to street walking, literally, courtesy  of Ivan Garcia (ES), whose “The Hard Art Of Strolling” takes us sauntering through Shanghai, Paris, the USSR, Japan and Barcelona at key junctures in their histories. A rare sort of documentary, 48 minutes of wayward wandering, in its German Premiere. And still more comes when the DL Selection V rolls through ten little gems, with Stephan Kaempf on hand with his 5-minute  “Chaos”, plus one World and four German Premieres and more. (Almost) finally, at 23:00 (11pm), don’t miss guest curator Shaun Wilson’s “Creatures Of The Night” horror shorts special – films so bad (in taste, acting, technical quality, just about everything) they’re good, and deliciously so. All capped off with live music at midnight from the really good Susanna Berivan, a young singer/songwriter/guitarist whose repertoire defies categorization, spanning dirty country to Lady-Day-jazz to personal punk, stopping at all stations between with a voice of myriad shades. Wow. Another night with a bang at Naherholung Sternchen (behind Kino International).

                                                                          KT/Team DL

pictured: Susanna Berivan by Jon Clay

Feb. 14, the program

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