German Experimental Films of the 90s, Program Five | Chicago Reader

German Experimental Films of the 90s, Program Five

This series of five programs concludes with an assortment of “Wounds, Wonders, Visions.” Matthias Müller's Alpsee (1995) is an affecting portrait of a boy reaching puberty as his home seems to go mad with metaphors for emotional chaos: the closing of a drawer introduces a montage of doors and windows closing; the pouring of milk leads to curves of white spreading over pristine surfaces. Ayse Polat?s A Party for Beyhan (1994), set in almost featureless semidesert, evokes feelings of displacement as it intercuts segments of a Turkish teenager with shots of her as a child. Depending on your appetite for postmodernism, Björn Melhus's Far, Far Away (1995) is either humorously wise or totally moronic: a German woman named Dorothy wants to go “over the rainbow” with her dog Toto (and just in case we don't get it, there's a poster for The Wizard of Oz on her wall). A magic telephone allows her to communicate with her clone in San Francisco; soon there are a half dozen of her. On the same program, Caspar Stracke?s Afterbirth (1995).


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