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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.
‘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.
Two female performers – as ringmasters, pining lovers and autonomous artists in a personal union – live through “moments of disclosure” before an imaginary audience. With verve, wit and queer femme-ness, they unmask the performance space as a sexualized game subject to viewing conventions, contrasted through shots of the deserted Palau de les Arts Reina Sofía.
Cecilia is a waitress in New Jersey, living a dreary life during the Great Depression. Her only escape from her mundane reality is the movie theatre. After losing her job, Cecilia goes to see 'The Purple Rose of Cairo' in hopes of raising her spirits, where she watches dashing archaeologist Tom Baxter time and again.
Mary Poppins returns to the Banks family and helps them evade grave dangers by taking them on magical, musical adventures.
The kingdom is in a festive mood as everyone gathers for the royal wedding of Rapunzel and Flynn. However, when Pascal and Maximus, as flower chameleon and ring bearer, respectively, lose the gold bands, a frenzied search and recovery mission gets underway. As the desperate duo tries to find the rings before anyone discovers that they’re missing, they leave behind a trail of comical chaos that includes flying lanterns, a flock of doves, a wine barrel barricade and a very sticky finale. Will Maximus and Pascal save the day and make it to the church in time? And will they ever get Flynn’s nose right?