This selection of films navigates on different timelines through the landscapes they have in their sights. With FÄRBLEIN, we headed east after the fall of the Berlin Wall to record the traces of a disappearing colorful urban landscape. The way Clarissa Thieme frames the scenes of war crimes in Bosnia-Herzegovina creates a web of perseverance, overgrownness, passing time and new beginnings like a varied pattern of chords WHAT REMAINS. By contrast, in UPHOLSTERED FURNITURE ON THE GRASS by Christine Noll Brinckmann the time changes and close-ups of a chaotic garbage pile compiled of furniture lead to the grotesque. Hollis Frampton's one-minute films, which were made for his unfinished Magellan Cycle, are a laconic testimony to the spatial, dynamic and social wealth of cinematographic references to location. (rb) (16.2.)
