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Pferdebusen (Horse Boobs) is the fifth part of a series based on Arthur Schnitzler’s Dream Story. In the text, Katrina Daschner is interested in the ambiguity of fiction and reality, and the tension of unrealized sexual desires. She deconstructs this framework in her development of queer relationship scenarios. In Pferdebusen the filmmaker masterfully succeeds in staging the ruptures and irritations that are so essential for showing and wanting, with subtle humour and grandiose human and non-human actors.
Extremely confident in her mastery of style and taking obvious delight in her citations, in PAROLE ROSETTE, Katrina Daschner uses the performance by a well-rehearsed group of queer couples to stage a controlled game around/about social conventions and (sexual) self-determination, interwoven into an architecturally sublime setting (the Carlo Mollino's Teatro Regio in Turin). - Barbara Reumüller
Jellyfish floating gracefully through the water. Gently swaying sea anemones. Fragmenting closeups of naked skin. Gaping fissures in rough rock. Sensual body sculptures that blend in their similarity of form and montage to a hybrid film body: silent, beautiful, erotic. The reproduction of bodies far from social ascription as new artistic creations — in and through film.
In the seventh part of her adaptation of the “Dream Novel”, Katrina Daschner shines a circus arena’s spotlight on the relationship of a Schnitzleresque couple.
‘Pomp’. Last chapter of the series. The colors blue and gold are dominating this film. ‘The Blue Hour’ – glittering stars at the night sky and on vaudeville stages. Finger dances in golden gloves of satin, full glasses of champagne in circle choreographies, collective ‘Golden Showers’. Performers in bluecatsuits. Everything moving in circles. Pure ‘Pomp’.
‘Powder Placenta’ is a fairytale that narrates the interconnectedness of seemingly separate spaces, spheres and strata, and shows how they desire to be intertwined. Once again and at long last, everything becomes one, no matter how it is normally categorized. Longing has come to an end, the celebration of life in all its glory has begun. (Olaf Möller)
A dreary stone grotto populated by mysterious beings lurking in narrow niches, appearing as hordes of zombies with dead eyes, or disturbing with beautifully abhorrent faces. Atmospheric projections intensified by a cataclysmic horror soundtrack to an enthralling ghost train ride through uncanny terrain.
Single dad Richard meets Christine, a starving artist who moonlights as a cabbie. They awkwardly attempt to start a romance, but Richard’s divorce has left him emotionally damaged. Meanwhile, Richard’s sons—one a teenager, the other 6-years-old—take part in clumsy experiments with the opposite sex.
From the rains of Japan, through threats of arrest for 'public indecency' in Canada, and a birthday tribute to her father in Detroit, this documentary follows Madonna on her 1990 'Blond Ambition' concert tour. Filmed in black and white, with the concert pieces in glittering MTV color, it is an intimate look at the work of the icon, from a prayer circle before each performance to bed games with the dance troupe afterwards.
Jessica, a Jewish copy editor living and working in New York City, is plagued by failed blind dates with men, and decides to answer a newspaper's personal advertisement. The advertisement has been placed by 'lesbian-curious' Helen Cooper, a thirtysomething art gallerist.