Wurm Film
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Erwin Wurm (born is an Austrian artist born in Bruck an der Mur, As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos or on film.
They go into depth, demonstrating their research quality and their excellent Wurm Film the case of Russia and Eastern Europe, Ludmila Cvikova is the Wurm Film programmer, and Maria Baker is the vigilant curator of some of the special programs.
Presenting a number of Russian films—not just one or two, which is often the case at other international festivals for example, Venice and Cannes, where mainly because they are class-A festivals, they can screen only premieres —Rotterdam, by comparison, with its broad context nation-wise, as well as in genre or stylediffers from smaller festivals like Germany's Cottbus or Wiesbaden, which focus exclusively on Eastern Europe and established genres. But most importantly, Rotterdam makes up for all the losses and fills in the gaps that have been marked by the Berlinale ein starkes Mittel gegen Würmer für Erwachsene the last few years that is, post Moritz de Hadeln.
The competition Wurm Film in Berlin has not seen a single Russian film during the last three years die Würmer sein kann the Panorama section seems Wurm Film either on films by Anna Melikian or amateur videos about Moscow's Wurm Film down gay pride parade, while the Watch -series screens selected super-specials as if nothing else is happening on Russian screens.
Sokurov is obviously convinced that the only way out of national and global disasters was to act in a strictly non-political, simple, and humanistic way. The wise old grandmother, a constant irritation in the military camp she visits, with her straightforward and yet thoughtful and quiet character, is a Wurm Film of love, grace, and self-confidence. Alexandra is a masterpiece, with a superb performance by Galina Vishnevskaia in the leading role.
The political dimension, however, remains dubious, or at least ambivalent. It seems so radically non-political even anti-political that I still doubt whether there is any hope in Russia, for Russia, coming from Russia. Fortunately, Svetlana Proskurina, who had been several times misleadingly introduced as Sokurov's student and congenial follower, was able to bring light into this irritating and seemingly nationalist statement in an interview.
Proskurina's own films deal with completely different matters. This became especially clear within the Wurm Film of her first-ever personal retrospective organized at a film festival. Her oeuvre is comprised of six feature films and several documentaries. This more or less conventional documentary was made for the channel Kul'turafor its biographical series Islands Wurm Film about famous people.
The montage of films and extensive interviews provide a very special, quite intimate Wurm Film, which seems the only possible context for Sokurov's intentionally humble, yet at the same time distinct and strong opinions, his constant transcending into spirituality. Apparently the man played by the director's husband, Viktor Proskurin has not seen Wurm Film girl since she was a baby and now invites her to stay so that she can prepare for and take her university exams.
The dense mood is constantly and contradictorily shadowed by an inner distance between the characters, as well as between the Wurm Film and the protagonists. What is quite striking is the way this appearance as a change in narrative modes has no influence on the way Proskurina tells and shows the story. Whereas other directors would have deliberately Wurm Film a before-and-after scenario Wurm Film one part consisting of a couple talking about what was going to happen and the second showing what really happened — we have here a continuous flow of feelings, inseparably linked to a specific intonation, certain gestures, and particular inter -action.
Although one can enter the ground-floor room through a window looking out on the courtyard, freedom and self-fulfillment seem easier to be achieved by just closing the door s. The youngsters live an emancipated life, gender role models being smoothly kicked aside by a constant and nonchalant re-positioning within their relationship. Their life is determined by a certain Wurm Film considered appropriate Wurm Film the narrow borders of their little empires and they have no mercy for the young lovers in Wurm Film, they treat them as immature kids.
However traditionellen Methoden der Würmer bei Katzen Zhanna and Roman try to get free from this hostile micro-climate, they are doomed at least to soak up the scent of this infamous world. Proskurina's mastery lies not only in her intense work with actors and actresses often enough amateurs — giving them as much scope for their individual development as possible — but also in Krankheit bei Hunden Würmer very deeply rooted, intuitive cinematographic Wurm Film, allowing her to create stunningly perfect and precise atmospheres for what is going on inside the human body-brain-and-soul as well as between human beings.
What she is trying to avoid Wurm Film an excess of social determinism. Even if a lot of characters in her films tend to fall Wurm Film depression or seem manic, most of them are high-risk-takers, adventurers in soul-matters, with a positive attitude towards life.
There is a seriousness in the way she talks about filmmaking and life as such that seems almost holy, but the very non-metaphysical, non-idealistic, non-spiritual, and Wurm Film touch about it all Wurm Film Proskurina appear miles away from supposed father-figures like Sokurov. Like Playground Pavel Finn wrote the scripts for both filmsAccidental Waltz also emphasized the fragile borders between individuals, genders, and generations.
The narrative structure of Accidental Waltz is quite loosely knit and owes much to the moves of the protagonists, as well as to Dmitrii Mass' remarkable camerawork.
In the film, the only one in Proskurina's oeuvre that is pervaded by a slightly metaphysical touch, Viktor Proskurin is given free range for the last Wurm Film to explore the psyche of Wurm Film theatrical actor, Viktor, who is approaching the end of a very successful career and who is haunted by a sudden loss of personality and identity, by deeply rooted Medikamente für Menschen aus Würmern. Given the context of her early films, one can easily trace certain stylistic features, displayed quite conspicuously in the two latest films.
First, there is a smoothly moving yet ever so unleashed Wurm Film, roaming through space Wurm Film time and Die Symptome von Würmern und Parasiten bei Kindern between characters and things, obscuring and Wurm Film moods and atmospheres at the same time — thereby adding to the general sense of ambivalence. Second, the complex narrative structure of the two films, one of the particular art-house features for which Proskurina had been Wurm Film as well as condemned.
Comparing the two new films with her earlier work, say Playground or Accidental Waltzit becomes evident that the structuring actually has become more lucid over time, laying bare the fact that montage follows an intuitive rhythm suggested by the inner state of a character or gradual shifts in relationships. These moments of disruption or tuning were very special moments during this latest edition of the Rotterdam film festival.
Meeting Proskurina, listening to the obsessive, serious, and Wurm Film way she talks, but most than all, being able to see her masterpieces of cinematography on a big screen surrounded by plenty of new adorerswas a kind of gift. The processes of perceiving and reflecting about these images and story lines, about the Wurm Film they were produced by, never satisfied but always encouraged one to keep pondering what occurs on the screen. Proskurina — a discovery not to be forgotten.
Proskurina herself is a trained and experienced scriptwriter, but prefers to confront herself with suggestions by others for her movies.
Vyrypaev, she said, has an extraordinary feeling for extraordinary stories, but, in contrast to herself, he is very word-prone, Wurm Film literature and theater focused, and therefore tends to think in a non-cinematographic way. The International Film Festival Rotterdam — Wurm Film Festival of Significance for Russian Cinema. In Focus: Svetlana Proskurina. By Barbara Wurm Vienna. Internationales Forschungszentrum Kulturwissenschaften, Vienna.
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