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Short thriller about an older woman and an escaped convict.
“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky
Die UFA, a film essay about the eponymous German studio.
“Why does cinema need death, when it can’t show it?” The filmmaker’s monologue and the discourse of images meet
The film documents a debate about early 20th century films, mainly 1910 to 1920, from short news reels to excerpts from full-length movies. At Amsterdam's Film Museum, film directors, students, and film researchers and archivists look at the moving images and discuss their meaning, in the social and technical contexts. Moody live music was added to the edited film.
How should one define the relationship of documentary film to reality? Does it aim at authenticity or is it rather an “exile of reality”, a “foreign homeland of reality”, where the pre-filmic, stripped of its immediacy, comes to its own right in the first place? Where in its mis-en-scène would be the line drawn to a fictional film, if drawing a line would succeed at all? These are the kind of questions this film essay on the history and aesthetics of documentary film deals with in its seven chapters.
Hans Scharoun has built houses which show not only structural substance and aesthetic forms but also how human beings should live in buildings. This depiction can only be imaginary - like reading invisible writing on walls. Bitomsky's film looks at several of Scharoun's buildings.
A darkly comedic exploration of personal struggle and societal pressure, we follow the story of a middle-aged man named Max, who is trapped in a life of monotony and frustration. After a series of unexpected events, Max finds himself in increasingly absurd and challenging situations, forcing him to confront his own limitations and fears. With sharp humor and a critique of societal expectations, the film delves into the pressures that shape our lives and the lengths we go to in order to break free from them. A poignant yet quirky tale about bending to life's demands or breaking under the weight of it all.
While working on "Deutschlandbilder" (1983), Hartmut Bitomsky was examining film material produced by the Nazi regime when he came across an abundance of footage documenting the planning and construction of motorways. In this found footage documentary he investigates what this material actually says: the motorway is stylized within it as a promise of progress and modernity, a "lifeline of the nation", less a straightforward piece of infrastructure than a prestige object, a work of art.