2PM Saturday June 2, 2012
At Goethe Institut Hanoi
Films are in German, with English subtitles only, no Vietnamese
Hanoi DocLab is pleased to host a screening and discussion with filmmaker Philip Widmann, co-founder of Berlin-based audiovisual production cooperative
Works Cited.Philip will present films including his own and talk about the use of private archives and biographical re/constructions in films.OMISSION, ADDITIONconsists of 2 parts and the audience is welcome to join any of the sessions, or both.
Part 1: Film Screening from 2PM to 3:30PM
Part 2: Discussion with Philip Widmann from 3:30PM to 5PM
You and Me
Karsten Krause, 2009, 4′, 8mm/Super 8/DV color
A woman is walking towards her husband’s camera for four decades. A love story on small gauge film.
Philip Widmann, 2008, 9′, 8mm/DV color
A man, presumably of Vietnamese origin, travels Europe. Shortly after, American troops enter the ground war in Vietnam.
Sylvia Schedelbauer, 2004, 19′, Beta SP color
A woman grows up during the bubble economy in Japan. Why did her parents never speak about the past? Using a box full of photos found in her family archive, the filmmaker tries to construct one version of a family history.
Give Me Back My Own Picture Perfect Memory!
LuiseDonschen, 2012, 25′, HD/DV/Super 8 color
While my father created a picture archive of my childhood, my grandmother destroyed the family photo albums just before her death. Stuck between these extremes, I venture out to question old pictures, to produce new ones and to find a perspective. My journey takes me to East Berlin, Poland and through Hamburg. This documentary deals with the shape of memory, the ease of forgetting and last not least, making films.
The Photographer’s Wife
Karsten Krause & Philip Widmann, 2011, 29′, HD/Super 8 color
GertiGerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.
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