Summary
1774, shortly before the French Revolution, somewhere between Potsdam and Berlin.
Madame de Dumeval, Count Tesis and Duc de Wand, libertines expelled from the Puritan court of Louis XVI, seek the support of the legendary Duc de Walchen, a German seducer and freethinker, lonely in a land of hypocrisy and false virtue. Their mission is to spread libertarianism, an Enlightenment philosophy based on the rejection of moral boundaries and authority, but above all, finding a safe place for their delusional games, in which the pursuit of pleasure is subject only to the laws of unfulfilled desire.
At first it is a refuge. Libertines, still in the minority in an unyielding Prussian court and are not allowed to practice their lifestyle openly, and sometimes they're libertines just out of curiosity - because news of customs in France had come to them - find that sheltered place where they can freely indulge in excesses and talk about libertarianism. The curiosity they feel extends to a crime that satiates desire and satisfies the refining lust, which, the more capricious, the more it reveals itself as the strongest of all urges, as the mistress who needs freedom. But it is a place and a refuge for the libertines who had to flee France, since a new chastity and moral rigor, a new moralism, prevailed in the court.
What remains of a culture that touched the extremes, the highest linguistic expressions, the fearlessness of thought and a criminal act, and even the apathy of action, are a few costumed characters and a few magnificent palanquins in a place that does not exist, or more does not exist in the world where the cellphone menu has replaced cruising. What remains is an enigmatic naivety that, when you don't really know what to think of it, is revealed as unexpected innocence. What remains is no consolation, nothing reassuring: What remains, if anything remains, is an unexpected innocence that renounces its opposite, its loss and its guilt, and therefore seems untouchable.
Now that culture has failed, other powers have proven themselves more resilient: business and reputation, the barbarity of neoliberal capitalist exploitation, the relentlessness of global control, and the complementary narrow-mindedness of ethical correctness. Culture can no longer do no harm, nor are we able to hurt it, no matter how involved it may be.
(Alexander García Düttmann)
Festivals and awards
Cannes Film Festival 2019 - Special mention - Special jury award / Gaudí 2020 - Best costume design, Best makeup;
featured
Film Mutations: Festival of Invisible Cinema XIII.
Cinemaclash! Film+Power
Film Mutations: Festival of Invisible Cinema XIII. subtitled Cinemaclash! Film+Power is being held in Art-kino → more
06.-09.02.2020.
Film Is More Than Film
Film ist mehr als Film, Austria, 1996., director: Gustav Deutsch, feature film
Border
Border, France / United Kingdom, 2004., director: Laura Waddington, documentary
Pasolini's Anger. Hypotheses for the Reconstruction of the Original Version of the Film
La rabbia di Pasolini. Ipotesi di ricostruzione della versione originale del film, Italy, 1963.-2008., director: Pier Paolo Pasolini, Giuseppe Bertolucci, documentary
6/64: Mom and Dad (An Otto Mühl Happening)
6/64 Mama und Papa (Materialaktion Otto Mühl), Austria, 1964., director: Kurt Kren, eksperimentalni
Film or Power
Film oder Macht, West Germany, 1970., director: Vlado Kristl, feature film
7/64: Leda and the Swan
7/64 Leda und der Schwan, Austria, 1964., director: Kurt Kren, feature film
Actors: Submission and Pleasure: Opening of the Festival
Actors: Submission and Pleasure,
Cinema Conversation
Cinema Conversation,
Film is. 1-6
Film ist. 1-6, director: Gustav Deutsch,
In the Name of the Law
Enligt lag, Sweden, 1958., director: Peter Weiss, Hans Nordenström, documentary
12th December
12 dicembre, Italy, 1972., director: Giovanni Bonfanti, Pier Paolo Pasolini, documentary
Power and Rebellion
Albert Serra - Selection of films,
Tommaso
Italy / United Kingdom / United States / Greece, 2019., director: Abel Ferrara, feature film
Symposium - Power of Cinemaclash
Symposium - Power of Cinemaclash,
Women's Quarter
Qaleh, Iran, 1966., director: Kamran Shirdel, documentary
Tehran Is the Capital of Iran
Teheran, Payetakht-e Iran Ast, Iran, 1966., director: Kamran Shirdel, documentary
The House is Black
Khaneh siah ast, Iran, 1963., director: Forugh Farrokhzad, documentary
The Incomparable of The Non-comparable
Lo incomparable de lo no comparable, France, 2019., director: Paul Grivas, feature film
Jean-Luc Godard: Initiation into the revolutionary film
Initiation au cinéma [révolutionnaire], France, 1969., director: Jean-Paul Török, documentary
1968: A Blind Archive
1968: A Blind Archive, Mexico, 2014., director: Bani Khoshnoudi, documentary
Visual Riots
Visual Riots,
Socialism
Film Socialisme, Switzerland / France, 2010., director: Jean-Luc Godard, feature film
Film Catastrophe
Film Catastrophe, France, 2018., director: Paul Grivas, documentary
Film/Speaks/Many/Languages
Film/Spricht/Viele/Sprachen, Austria, 1995., director: Gustav Deutsch, documentary
The Hills of Marlik
Tappeha-ye Marlik, Iran, 1963., director: Ebrahim Golestan, documentary
Brick and Mirror
Khesht o ayeneh, Iran, 1965., director: Ebrahim Golestan, feature film
El Grito
El Grito, Mexico, 1968.-1970., director: Leobardo López Aretche, documentary
Visual Riots
Nicole Brenez,
9/64 O Christmas Tree
9/64 O Tannenbaum, Austria, 1964., director: Kurt Kren, feature film