sixpackfilm @ Oberhausen 2023
With four films in the International Competition and one film in the German Competition, we are pleased to announce a sensational presence of sixpackfilm at the 69th Oberhausen Short Film Festival 2023 (April 26 - May 1, 2023)
Garten Sprengen by Veronika Eberhart, AT 2022, 12 min -> IC 1
C-TV (When I tell you I like you...) by EvaEgermann und Cordula Thym, AT 2023, 30 min –> IC 3
will have been by Sasha Pirker, AT 2022, 17:30 min –> IC 6
Bildwerden by Christiana Perschon, AT 2022, 10 min –> IC 6
Blind Date 2.0 by Jan Soldat, AT/DE 2022, 8 min –> GC 2
Nominations for the Austrian Film Awards 2023 for ELFRIEDE JELINEK - LANGUAGE UNLEASHED, MUTZENBACHER, STORIES FROM THE SEA, DIRNDLSCHULD and WILL MY PARENTS COME TO SEE ME
Highly gratifying news from the Academy of Austrian Film: ELFRIEDE JELINEK - LANGUAGE UNLEASHED, Claudia Müller's densely woven collage of the Nobel Prize winner has been nominated for the 2023 Austrian Film Award in the categories Best Documentary, Best Cinematography (Christine A. Maier) and Best Editing (Mechthild Barth). In the category Best Short Film Wilbirg Brainin-Donnenberg with DIRNDLSCHULD and Mo Harawe with WILL MY PARENTS COME TO SEE ME are among the nominees. Last not least we are equally happy about the nomination of MUTZENBACHER by Ruth Beckermann for Best Documentary and STORIES FROM THE SEA by Jola Wieczorek in the category Best Music (Julia Kent).
We congratulate all nominated artists - the list can be found on the website of the Austrian Film Academy.
Helin Çelik's ANQA at Istanbul Film Festival (April 7-18, 2023)
ANQA, Helin Çeliks sensitive Portrait of three women from the Middle East, who have experienced abuse and domestic violence and who have radically rebelled against it, plays in the competition of Istanbul Film Festivals IKSV 2023 (April 7-18, 2023)
Friederike Pezold (Pezoldo) Retrospective at Anthology Film Archives, NY (March 10 – 16)
Revolution of the Eyes (2022, 75 min.)
Canale Grande (1983, 88 min.)
Toilette (1979, 78 min.)
A photographer, performer, and video and installation artist who made one fascinating excursion into feature filmmaking with CANALE GRANDE (1983), Friederike Pezold (Pezoldo) is an exhilaratingly multi-media artist, and one who deserves far more recognition in the U.S. than she’s thus far received. Pezold’s work is defined above all by a preoccupation with the intersection of technology, media, and the body, a theme she has explored in many different forms. Born in Vienna in 1945, and educated in Munich, Pezold is perhaps best known for her photo series and multi-channel video works which center on – and tend to deconstruct – her own body. Her feature-length video TOILETTE (1979) is emblematic: over the course of 78 minutes, it focuses on and isolates various parts of her body, bestowing on them a certain monumentality as well as a mysterious (and comic) abstraction. TOILETTE reflects an overriding goal of Pezold’s work: to be both subject and object at once.A couple years earlier, Pezold had inaugurated an ongoing project entitled “Radio Free Utopia”, in which she designed a special apparatus that allowed her to move through the city shooting video which was simultaneously displayed, via a closed-circuit feed, on a monitor attached to her body. “Radio Free Utopia” was a radical and deadpan funny extension of the utopian ideas of other video artists of the time, who were determined to circumvent the restricted production and distribution channels of commercial media networks. It also became the pretext for CANALE GRANDE, whose protagonist – played by Pezold herself – wanders through Vienna and Berlin equipped with the “Radio Free Utopia” rig. Incongruously, however, CANALE GRANDE was filmed – beautifully – on 35mm, in part by the accomplished filmmaker and cinematographer Elfi Mikesch. An unusual and provocative marriage of film and early video, it combines the visual beauty and texture of film with early video’s preoccupation with new ways to produce and circulate imagery, while also reflecting the new medium’s liberation from the conventions of narrative drama.
Having held CANALE GRANDE in the highest esteem ever since hosting a screening in 2018, we are thrilled to showcase it for a full week in February, alongside TOILETTE, and to present the U.S. premiere of Pezold’s most recent moving-image work, REVOLUTION OF THE EYES (2022), a typically singular, funny, and uncategorizable piece that finds Pezold meditating on the changes to perception and behavior wrought by the new technologies of our own time. (Jed Rapfogel)
Peter Weibel 1944-2023
Thick reality (Stan) or stupid (Ollie) reality: Peter Weibel is dead. In DENKAKT from 1968, Ernst Schmidt jr. shows the still young rebel Weibel thinking while sitting on a balcony, wearing a Bazooka Leiberl, a former chewing gum brand. A text can be heard in which the theorist and artist, who was a pioneer in Austrian media art, ponders reality (and the medium of film) on the basis of the characters Stan and Ollie, a theme that accompanied him throughout his life. One of Weibel's characteristics was always that he spoke quickly and a lot, letting the desire to convey and develop ideas come out in the tone even during the act of speaking, even pouring his thinking directly into words. And ideas this man had very, very many. His numerous collaborations with VALIE EXPORT, such as AUS DER MAPPE DER HUNDIGKEIT, TAPP UND TASTKINO or UNSICHTBARE GEGNER, for which he contributed the script and also acted, are legendary. His TV works, soaked in humor, also remain unforgotten. In keeping with the history of media art, he realized them in the medium of TV, at that time on ORF, and remained a welcome guest. As part of the discussion format "Club Zwei," for example, he had blood drawn live in the action ZEITBLUT, which successively filled the picture in a glass container in front of the camera and thus ran into the screens of Austrian households. As a media poet, he called this action "telecommunication," his quite essential comment on the question of the evening: "For what art and paid by whom?" Weibel has always remained an advocate for art, whether as an artist, an exhibition curator, as the longtime director of the ZKM, or in his extensive teaching and publishing activities. In a track by his cult band Hotel Morphila Orchester, Weibel once sings more pertinently than perfectly, "The media channels are my body channels." That was probably truly to be understood in the same way. Rest in Peace - our heartfelt sympathy goes out to his partner Susanne Widl, his family and friends.
Berlinale Forum – DE FACTO wins "Caligari-Prize 2023"
Outstanding news: DE FACTO by Selma Doborac is awarded the Caligari Prize 2023!
The jury states: "an extraordinary and highly intense film that, like hardly any other before it, makes us think philosophically about destructive (group) dynamics and the inhuman in human beings". The 38th Caligari Film Prize was awarded to Selma Doborac for her documentary fiction hybrid DE FACTO (AT/DE 2023, 130 min) from the programme of the 53rd Berlinale Forum.
-> Jury Statement
Portrait: Selma Doborac: Caligari-Prize-2023 ©Dario-Lehner
Focus on ANNA VASOF at Independent Film Festival Athens 2023
Anna Vasof builds machines and constructs mechanisms, always in search of the essence of cinematographic movement, she creates surreal body-object hybrids or bangs her head against columns or walls in various world cities to explore their sound. With always a lot of humor, Anna Vasof undertakes investigations into the illusion machine that is cinema. The Independent Film Festival Athens (March 2-5, 2023) is now dedicating a comprehensive retrospective to the media artist: IFFA 2023
The cinematic work of Maria Lassnig in a comprehensive show at the Anthology Film Archive in New York
"For Lassnig, film was by no means just a pastime or an excursion into low or popular culture. Like other 20th century artists, she embraced film as a unique means of expression. As the artist herself put it, while it is only ever the final layer of a painting, that is, the ‘finished’ image, that remains, film allows the unfolding of time itself to be depicted, frame by frame, film image by film image. Yet Lassnig’s film work is hardly just ‘painting in time’…. Her work reflects her engagement with the medium, its history, and its narrative techniques, ranging from Hollywood cinema via American independent film and animation all the way to television."
Filmprogram Anthology Film Archive
Book launch: MARIA LASSNIG: FILM WORKS (FilmmuseumSynemaPublikation)
Maria Lassnig at INDEX-edition for streaming and purchase
"ANQA" by Helin Çelik and "De Facto" by Selma Doborac @ 53rd Berlinale Forum
sixpackfilm is very happy to announce two more world premieres at the upcoming Berlinale: With ANQA, Helin Çelik achieves a delicate approach to three women in Jordan, each one a survivor of male violence. Her film "does not tell the stories of these women, but outlines their post-traumatic situation in striking, poetic film images."
Selma Doborac's De Facto deals with perpetration – in the form of a "realistically arranged chamber play" with two dramatic figures, and based on witness and survivor testimonies, court verdicts, whistleblower confessions, and the like, on the textual level.
Links to -> ANQA and -> De Facto play dates.
We congratulate the filmmakers and their teams on their selection and look forward to the Berlinale. Hope to see you there!
Mo Harawe gewinnt International Grand Prix in Clermont-Ferrand
Mo Harawes Erfolgsgeschichte setzt sich fort: WILL MY PARENTS COME TO SEE ME gewinnt den International Grand Prix des Clermont-Ferrand International Short Film Festival!
Herzliche Gratulation an Mo, aber auch allen anderen Gewinner:innen!
© Baptiste Chanat
