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Dammbeck, himself an alumnus of the Leipzig Academy for Graphic and Book Design, presents the origins of the new German realism developed by the so-called Leipzig School, which took place in the context of socialist-realist dogma in the GDR before the Wall was built in 1961. After the Wall came down in 1989, what happened to the major Leipzig School painters Werner Tübke and Bernhard Heisig, who had been called “Dürer’s red heirs” by West German journalists in the 1970s? In the film, Tübke, Heisig, and former GDR officials who were involved with the cultural scene in Leipzig at the time talk about modernism, conformism, political pressure, party discipline, personal claims, and fading memory. The documentary paints an insightful, often critical picture of early East German art history.
At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists’ works. But who painted over the “overpainter”? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer – and modern art in general – and accusing the artist of being complicit with “destructive modernism.” At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria’s “German identity.” Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?
Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details. Dammbeck’s last film made in the GDR before he left for West Germany is based on a Chinese fable, with music by internationally known jazz musician Günter “Baby” Sommer.
Despite seeing his film project HERCULES rejected by DEFA Studios in 1983-84, Dammbeck remained fascinated by the Hercules story. He started experimenting with different media combinations, using overpainting, photography, film clips, collage, painting, and movement. These experiments resulted in groundbreaking multimedia collaborations, as well as the film THE CAVE OF HERCULES, in which Dammbeck explores a series of questions inspired by this classical figure. Who was the legendary hero Hercules? Is there a new Hercules today? How are heroes created in a totalitarian society? What are the virtues of heroes? This multi-layered experimental film combines projections of collected film clips, quotations from “The Willful Child” by the Brothers Grimm, and “Hercules 2 or the Hydra” by Heiner Müller, as well as dance scenes with Eva Schmale that were performed – at Kampnagel in Hamburg – specifically for the film.
On a talkshow, actor and German TV ikon Joachim Fuchsberger recalls how the games for his show "Nur nicht nervös werden" (Don't Get Nervous), first broadcast on West German TV in 1960, were developed along the lines of American psychiatry. Asked "So how many crazy people watched you?", he responded: "A whole crazy, psychologically disturbed nation". Why were the Germans or to be more precise, the West Germans, a psychologically disturbed nation at that time? This is a film about cheerful and serious games, therapies for re-education and self-imposed re-education, as well as the history of the idea of permanent revolution. Those appearing include directors and producers of gameshows, psychiatrists, anthropologists, and the diversely paranoid.
This short film traces the story of a man from birth to old age. The magical dreams of his youth appear from time to time, but daily routine quickly takes over. His striving for material wealth – including a Trabant car, a shelving unit, a boat – leads him to betray his youthful ideals, and he ultimately becomes a slave to his possessions. In the final frames of the film, “LIVE” – written in large white letters – ironically reminds viewers not to forget to follow their dreams.
A little bumblebee is tired of her daily routine and the other boring bumblebees. She flies to the place of her dreams and meets a frog who is also seeking something new. Despite their differences, the two animals become friends and start their adventure together. This children’s animation film was a success in East German cinemas. Older viewers, however, saw it as a metaphor for their longing to escape – daily life, or even their walled-in country.
Dammbeck made this film – a reference to the myth of Icarus and a metaphor for failure, hope, and human exploration – at the invitation of the legendary animator Kurt Weiler. It’s the first example of Dammbeck’s experimental, grotesque, surrealistic style of animation. The idea of flying, which Dammbeck uses here for the first time, will reappear continuously in his next films. THE TAILOR OF ULM established Dammbeck’s reputation among East German animation directors.
The moon swirls happily around, watching strange animals enjoying themselves and dancing to gramophone music in its light. Then, suddenly, the moon falls out of the sky, and a greedy dragon drags it into his cave and forces it to give him light while he eats all the cakes. When the nights stay dark, the animals come up with a plan. Otto Sacher, East Germany’s legendary animation director and co-founder of the DEFA Studio for Animation Film, was the artistic advisor for this film, the first of Dammbeck’s animated works.
Explores the incredibly complex backstory of Ted Kaczynski, the infamous Unabomber. This exquisitely crafted inquiry into the rationale of this mythic figure situates him within a late 20th century web of technology—a system that he grew to oppose. A marvelously subversive approach to the history of the Internet, this insightful documentary combines speculative travelogue and investigative journalism to trace contrasting countercultural responses to the cybernetic revolution.