V’17: OCTOBER 19 – NOVEMBER 2, 2017

Festivalarchive Trailer

V'16

V'16 TRAILER

Klaus Wyborny: CINÉMA VÉRITÉ

In 2010, Klaus Wyborny filmed the world premiere of his cinematic work STUDIEN ZUM UNTERGANG DES ABENDLANDES (STUDIES FOR THE DECAY OF THE WEST), 2010 in Vienna’s (meanwhile closed) Stadtkino at Schwarzenbergplatz. He liked the images from the dark movie theater, only partly lit by the film, so much that he did the same at later screenings, presented between Portugal and the United States, in order to weave these images into a fabric of places and times – into a vision of cinema gliding over continents through the light of the projector.What’s celebrated here is a practice that has to be defended for its inherent democratic spirit.

In CINÉMA VÉRITÉ, Wyborny has now condensed this cinematic utopia into trailer length, to manifesto density. Cinema, as Wyborny understands it and as the Viennale practices it, is a constant departure into reality.
 

CINÉMA VÉRITÉ
Klaus Wyborny (D/A 2016)
Director, camera, editor, sound: Klaus Wyborny

 

V'15

V'15 TRAILER

Tsai Ming-liang: XIAO KANG

This year, the Viennale has once again succeeded in garnering a great director of world cinema for the creation of the traditional festival trailer. At the Viennale’s invitation, the Taiwanese filmmaker Tsai Ming-liang, known through works such as REBELS OF THE NEON GOD, THE RIVER, THE HOLE and WAYWARD CLOUD, created a short, approximately two-minute homage to Lee Kang-sheng – the actor who has appeared in almost all of Tsai Ming-liang’s films over the past thirty years and significantly influenced his entire oeuvre.

The film XIAO KANG shows Lee Kang-sheng roaming through a bamboo forest in a succession of simultaneously mysterious and unintentional movements. These again are alienated by the projection of silent black-and-white footage, accompanied only by the sound of a projector. It’s a fine, minimalist work, oscillating between dream and memory and kept entirely in the style of Tsai Ming-liang’s great films.

“More and more often, these short films initiated by the Viennale, such as the works by Stan Brakhage, Jean-Luc Godard and, most recently, Manoel de Oliveira, turn into mysterious, highly personal cinematic poems about time and memory,” says Viennale director Hans Hurch. “They are cinematographic haiku in the large flow of current images and sounds.”

XIAO KANG
by Tsai Ming-Liang

Taiwan/A 2015

 

V'14

V'14 TRAILER

Manoel de Oliveira: CHAFARIZ DAS VIRTUDES

This year's trailer of the Viennale, the 21st since 1995, was made by the Portuguese filmmaker Manoel de Oliveira.
Oliveira is at the age of 105 years not only the probably oldest filmmaker who is still active, but also one of the big masters in the history of cinema.
His first film DOURO, FAINA FLUVIAL originated in 1931 - his last up to now, the short O VELHO DO RESTELO was shot this summer. 83 years are between those two movies...

The trailer of the Viennale derives from the invitation of the festival to the filmmaker. It has originated in the connection and during the work on his new 20-minute film O VELHO TH RESTELO which had his world premiere a few weeks ago at the film festival of Venice. In this film, a series of free associative fantasies about literature, history and the figure of the Don Quijote, a water-spouting fountain is to be seen for some moments, a setting which resolves in a cross-fade to sea waves, whilethe voice of the narrator is to be heard.

For his trailer, Oliveira has chosen the same setting. It shows a baroque wall fountain in the Portuguese town of Porto, which is called „Chafariz das Virtudes“ i.e. „The fountain of virtues“. Porto is the very town in the north of Portugal in which Manoel de Oliveira was born and has been growing up and which is still today a central reference point of the artist. The fountain, which was dried-out for many years, was brought back to life again especially for this film.

Unlike in O VELHO DO RESTELO the fountain in the Viennale Trailer stands completely for itself: For the duration of one minute and a single shot, accompanied only by the noise of the flowing water.

„It is“, Viennale director Hans Hurch says, „a pure picture of the passing time, the trickling away of life, of the present and the irretrievably lost at the same time. And it is maybe the most simple and mysterious of all Viennale trailers for me. While watching this strange cinematic haiku, I have to think over and over again about this long, rich life of that old man from Porto who has given us this film.“

CHAFARIZ DAS VIRTUDES
by Manoel de Oliveira
Portugal/Austria 2014

Camera: Renato Berta
Editor: Valérie Loiseleux
Sound: Henri Maikoff

V'13

V'13 TRAILER

SHIRIN NESHAT: ILLUSIONS & MIRRORS

This year’s trailer marks a notable anniversary at the Viennale: it is the 20th “little film” realized by an important filmmaker commissioned by the festival since 1995.

In 2013 the choice has fallen on Iranian-American artist Shirin Neshat, world-renowned for her installations and photos. Neshat’s work ILLUSIONS & MIRRORS, circa two minutes long, was created as part of a larger project, a half-feature-length experimental film, which she will be shooting in the coming weeks with the support of Dior. Filmed in her characteristic, radical, mainly black-and-white style, ILLUSIONS & MIRRORS traces the somnambulistic hallucinations of a young woman, played by Natalie Portman. It was shot by cameraman Darius Khondji, most recently responsible for the cinematography of Michael Haneke’s AMOUR. ILLUSIONS & MIRRORS is about the futile attempt of chasing a shadow that wanders through the dunes of an empty beach. When it finally comes to an encounter in a deserted house, the young woman experiences a disturbing surprise.

Shirin Neshat: “This film pays tribute to black/white, silent films made by surrealist filmmakers such as Man Ray, Jean Cocteau, Luis Buñuel and later the wonderful experimental filmmaker Maya Deren. Thematically it is a big departure for me as it moves away from all my past socio-political subjects regarding Iran and Islam and enters a very timeless and universal story.”

A small film by a great artist, and the first Viennale Trailer to feature a veritable star. Or in Shirin Neshat’s words, “For a moment, I met Hollywood.”

ILLUSIONS & MIRRORS
Shirin Neshat, USA/A 2013

Camera: Darius Khondji
Editor: Nariman Hamed
Music & Sound: Johnny Azari
With: Natalie Portman

World Rights Viennale, Siebensterngasse 2, 1070 Wien, T +43 1 526 59 47
World Sales Sixpack Film, Neubaugasse 45/13, 1070 Wien, T +43 1 526 09 90

V'12

V'12 TRAILER

A short film by Chris Marker about the long history of cinema

Invited by the Viennale, the legendary, 90-year-old, French film essayist Chris Marker some time ago created a one-minute festival trailer, thus following in the footsteps of directors such Agnès Varda, Stan Brakhage, Jean-Luc Godard and David Lynch, who have done so in the past. The Viennale has chosen Marker’s work as its “anniversary trailer” because in it, Marker – like no other director before him – deals with the history of cinema in a playful and surprising manner. More precisely, he deals with the question of “the perfect viewer” that cinema has been looking for since the father of film, D. W. Griffith. Chris Marker ultimately finds this ideal viewer at the end of his small essay in an unexpected figure.

See for yourself.

Chris Marker, F/A 2011

 

 

V'11

DAVID LYNCH: THE 3RS

The 3 Rs may be a reference to the three basic educational skills Reading, wRiting and aRithmetic; cultural techniques that, as Lynch’s dense school nightmare makes quite clear, are simultaneously techniques of manipulation, restriction and control. The question posed at the beginning regarding the number of stones in Pete’s hands is not trivial. Why two? Why not three? Or 14? In accordance with the Lynchian dissolution of cinematic narratives in an associative tangle of terror, everything that seemed to be linear, firmly established and secure is breaking down. Liberated images liberate thoughts. Or do free thoughts free images? In cinema even a squeaky bathtub duck can bleed if you cut off its head.

 

DAVID LYNCH: THE 3RS
USA/Austria, 2011, 1 minute
35 mm/1.78:1/color/black-and-white
Realization: David Lynch

V'10

APICHATPONG WEERASETHAKUL: EMPIRE

EMPIRE is a film about searching and finding. As the camera feels its way along the walls of a cave or grotto, we see a diver wearing a gleaming white helmet and a hand diving into the sand to pick up some shells, playfully sliding them through his fingers. The images are accompanied by a polyphonic roaring, hammering and rattling. Has the diver been looking for something and has someone else found it? Possibly. Apichatpong Weerasethakul leaves it up to his viewers’ imagination to fill in the gaps and come up with their own answers. “You need an open mind to discover things,” says the director.

 

Apichatpong Weerasethakul:  EMPIRE
Thailand/Austria, 2010, 2 minutes
35 mm/1.78:1/color, no dialogue
Realization: Apichatpong
Weerasethakul

V'09

JAMES BENNING: FIRE & RAIN

“I took the steel rolling process that takes about ten minutes,” James Benning writes about FIRE & RAIN, “and condensed it down to one minute by cutting out portions and hiding the ellipses in time with dissolves.” James Benning takes the melting down process literally as he captures the red-hot metal processed in a Ruhr steel mill. The director does not, however, focus on hard human labor, but on the movement itself as part of a mechanized work process. Like a beam of light, the glowing steel flits across the screen several times before it is extinguished by artificial rain – and both picture and movement dissolve in a cloud of steam.

 

 

JAMES BENNING: FIRE & RAIN

USA/Austria, 2009, 1 minute
35mm/1.78:1/color, no dialogue
Realization: James Benning

V'08

JEAN-LUC GODARD: UNE CATASTROPHE

Jean-Luc Godard’s art and film-historical mini-assemblage UNE CATASTROPHE takes us from a dramatic moment of Eisenstein’s BATTLESHIP POTEMKIN (1925) and garishly colored video war images to an extended kissing scene, shot in super slow motion, from the famous Berlin romance PEOPLE ON SUNDAY (1929). On the same note: the groaning of female tennis players serving or returning balls, a Low German love poem (“Dat du min Leevsten büst”) and the beginning of Robert Schumann’s piano cycle “Scenes from Childhood”. Une catastrophe has an air of resignation but is not entirely without hope: Love is reachable, from war, in 63
seconds via a detour of art.

 

JEAN-LUC GODARD: UNE CATASTROPHE
France, 2008, 1 minute
35mm/1.33:1/color
Realization: Jean-Luc Godard

V'07

JEM COHEN: A TALE OF TWO CITIES

In A TALE OF TWO CITIES, Jem Cohen, who for more than twenty years has been building a steadily growing archive of various city views, street scenes and portraits, has connected images from his hometown of New York and of Vienna. Increasingly, the obvious and well-known differences in the architecture and streets are neutralized; the locations – an empty stairwell here, a busy street there – exchange shape and quality. The most irritating images are those of white, lifeless faces: filmed in the Institute of Anatomy at the University of Vienna, the dead eyes of Vienna stare back, as silent witnesses, at the viewer.

 

 

JEM COHEN: A TALE OF TWO CITIES

USA/Austria, 2007, 1 minute
35 mm/1,33:1/black-and-white,
no dialogue
Realization: Jem Cohen
Music: Andy Moor

V'06

LEOS CARAX: MY LAST MINUTE

A director lighting a cigarette, a candle-lit room, and a work place in front of a computer screen. The words “tonight, I stop smoking” can be made out on the monitor. An ironic final ceremony for a vice that has long accompanied one? The pan to the drawer, which holds a revolver, instantly extends the situation to a far more comprehensive act of annihilation. A shot rents the course of events. This is not an effect of the story, but the experience of death as a radical subjective means of withdrawal. A sensation characteristic of this turbulent world that Carax explores in his films.

 

LEOS CARAX: MY LAST MINUTE

France/Austria, 2006, 1 minute
35mm/1.37:1/color
Concept: Leos Carax
Editing: Laure Gardette
Sound: Hervé Guyader
Sound mix: Emmanuel Croset
Producers: Albert Prévost, Olivier Jacob

V'05

KEN JACOBS: INCENDIARY CINEMA

The image on the screen flickers unsteadily; the rhythm is unsettling: black/white, black/white, white/black. The film cuts abruptly to a playground. Color appears, sound sets in. Children crawl in the sand, adults watch over them, sitting on benches. It turns abstract. At the end a circle appears on the screen, again flickering strongly, like a beating heart. This is “Incendiary Cinema.” There is no such thing as a nice succession of images; the film is supposed to distress and disturb, and it also aims to create receptivity for images and viewing. It is a small, quite salutary shot before the main film.

 

 

KEN JACOBS: INCENDIARY CINEMA

USA/Austria, 2005, 1 minute
35 mm/1.37:1/color and black-and-white
Concept and realization: Ken Jacobs
Line editing: Nisi Jacobs

V'04

AGNÈS VARDA: VIENNALE WALZER

An exhaustive, deceptively simple essay on the complex relationship between cinema and the real world in one-and-a-half minutes. Colorful spinning tops rotate on a reflecting surface, the sounds of a merry-go-round give way to familiar music. The camera pans upwards, revealing Agnès Varda’s motionless face. From off-screen, her thoughts contradict the sounds of Strauss: “Ah no, not those Viennese waltzes … I’m thinking about film, about what happens every day. I’m thinking about bread, salt, earth, corn, bread, the sea, salt.” What follows are images (and sounds) of these essential things, a brief digression, with a musical transition between one take and the next, where there is time to take a closer look at things.

AGNÈS VARDA: VIENNALE WALZER

France/Austria, 2004, 2 minutes
35mm/1.66:1/color
Concept and realization: Agnès Varda

V'03

ERNIE GEHR: CARTE DE VISITE

Drifting clouds. They are not nice little clouds that invite us to interpret them symbolically; rather they are poisonous and unhealthy clusters, a skin rash of the sky, an impenetrable gray curtain of smog. This is a trailer of impressive tranquility and simplicity. A second look, however, opens up new dimensions: Are there not – as so often the case in Gehr’s work – unsuspected, amorphous forms that manifest themselves? Has an event scurried quickly past us while we were still busy discovering the mysterious in the seemingly obvious? In fact, these are two trailers in one: a palimpsest of the cinematographic pleasure of mystification.

ERNIE GEHR: CARTE DE VISITE

USA/Austria, 2003, 1 minute
35mm/1.66:1/color
Concept and realization: Ernie Gehr

V'02

STAN BRAKHAGE: SB

Fifty seconds is all Stan Brakhage needs to challenge the power of the images we see. Without sound and handpainted. A dance of colors, forms and flaws at a speed that seems to mock the lyrical effect of the result. Laconically entitled SB, the film is part of a series of handpainted movies that Brakhage has repeatedly chosen as specific material for processing. It is a silent, colorful piece of pure rhythm. In the din of grand, extravagant cinema, this small cinematic haiku is a special gift from the great filmmaker Stan Brakhage.

STAN BRAKHAGE: SB

USA/Austria, 2002, 1 minute
35mm/1.66:1/color
Concept and realization: Stan Brakhage

V'01

JONAS MEKAS: VIENNA & MOZART, ELVIS

VIENNA & MOZART

On July 19, 1944, my brother Adolfas and I boarded a train that was to take us to Vienna. Instead, we ended up in a forced labor camp near Hamburg. In 1971, the Soviets permitted me to visit my mother in Lithuania. After visiting her, I decided to travel to Vienna. It was a very important moment in my life when I finally arrived in Vienna. There I met my new friends Peter Kubelka, Hermann Nitsch and Arnulf Rainer. During this journey in August 1971, I shot this footage. I kept it, waiting for the right moment to release it. I’m not in any hurry with my films. Then I received a message from Hans Hurch: Can you send us a trailer? And I thought, now I can finally show my Vienna film. (Jonas Mekas)

JONAS MEKAS: WIEN & MOZART

USA/Austria, 2001, 1 minute
35mm/1.66:1/color
Concept and realization:
Jonas Mekas

 

ELVIS

I was lucky enough to see Elvis Presley’s final concert at Madison Square Garden in June 1972. Usually, you are not allowed to bring a camera to a concert. But the audience and the entire event were so wild that no one paid any attention to me. Over the years I watched the footage again and again. Then the Viennale called and I immediately thought of my Elvis material. The only problem was that I didn’t know what kind of musical soundtrack to use. I tried everything and was close to giving up when I happened to hear a Viennese waltz on the radio. That was it! What could be better – or funnier – than Elvis and Strauss? (Jonas Mekas)

JONAS MEKAS: ELVIS

USA/Austria, 2001, 1 minute
35mm/1.37:1/color
Concept and realization: Jonas Mekas

 

V'00

MATTHIAS MÜLLER: BREEZE

A one-minute film as a lyrical condensate of 105 years of cinema. Sixty seconds of enchanting associations related to barefooted duchesses and red fairy-tale shoes, cat people and drama queens: an actress, whose moving black-and-white photograph becomes crinkled like drying paper, draws the curtain again, thus escaping the looks of those reaching for and imposing on her, threatening to destroy her with their lust. Withdrawal will be followed by abandonment, self-denial by staging. Cinema, viewed from a distance and yet so close and present: a memo book about the eerie eroticism of overwhelming cinematic possibilities.

 

MATTHIAS MÜLLER: BREEZE

Germany/Austria, 2000, 1 minute
35mm/1.66:1/color
Concept, cinematography and realization: Matthias Müller
Editing: Tom Mayer
Music: Achnbach

V'99

PETER TSCHERKASSKY: GET READY

A revision of found feature-film footage, this short film needs less than 60 seconds to prove that cinema is an excellent medium for both idleness and rage. From an artistically composed idyllic scene at the seaside, Tscherkassky moves on to a nocturnal ghost ride along a busy road through flickering black-and-white shifts. The subsequent decline is accompanied by an increase in speed. A moving image thrown off track sets the female protagonist and her car in motion. There is life beyond the mainstream: the radical movement of objects, bodies and senses illustrates the power of cinema.

 

 

PETER TSCHERKASSKY: GET READY

Austria, 1999, 1 minute
35 mm/1.66:1/black-and-white
Concept and realization: Peter Tscherkassky
Music: Kiawasch Saheb-Nassagh

V'98

BRUCE BAILLIE: PIETÀ

Three images, three colorful longer takes: the black silhouettes of playing children, a dense swarm of birds and a mother breast-feeding her baby, all shot at the last light of day. PIETÀ is a cinematic haiku, whose wonderful and at the same time everyday images seemingly aim to express pure love of life and the world, while bathing everything in a deeply melancholic mood. Baillie’s images may easily appear cliché-ridden to us. Yet it is especially the naivety and vulnerability of such visual emblems that raises silent hope that they are (not only as spots) still possible in cinema today.

 

BRUCE BAILLIE: PIETÀ

USA/Austria, 1998, 1 minute
Super VHS (transferred to 35mm)/
1.66:1/color
Direction, cinematography, editing:
Bruce Baillie
Music: Gustav Mahler

V'97

MARTIN ARNOLD: PSYCHO

Martin Arnold has adopted a fragment from the shower scene of Alfred Hitchcock’s legendary thriller PSYCHO, rendering and composing it anew with the possibilities of digital retouching. The result is a short yet intense piece of contemporary aesthetics. Devoted mainly to density and omission, it visualizes the cinematic narrative on all its levels as a cinematographic and aesthetic mise en scène. Simultaneously, it reveals that a resolving adaptation of traditional cinematic forms can also create suspense, excitement and pleasure.

 

 

MARTIN ARNOLD: PSYCHO

Austria, 1997, 1 minute
35 mm/1.66:1/black-and-white
Concept, editing and realization: Martin Arnold

V'96

GUSTAV DEUTSCH: FILM IST MEHR ALS FILM

24 terms associated with cinema as a feast for the ears and eyes, 24 two-second takes as minimal films about audio-visual art. You read “Memory” while an orchestra performs an emotionally charged abbreviation, representing all the flash-backs in the history of cinema. You read “Propaganda” to a short, war-like drum-roll. And as the insert “Language” appears, an unknown voice postulates, quite correctly, “Godard.” Cinema is the time between two blinks of the eye. A promotional film, perhaps, but one that leaves behind its advertising objective. In a few seconds it puts thousands of aspects of the audiovisual passion for film in a nutshell: a condensed form of cinephilia.

 

 

GUSTAV DEUTSCH: FILM IST MEHR ALS FILM

Austria, 1996, 1 minute
35 mm/1.66:1/color
Idea and realization: Gustav Deutsch

V'95

GUSTAV DEUTSCH: FILM SPRICHT VIELE SPRACHEN

Using 21 out of 39 fragments of an Indian feature film with French and Arabic subtitles, Deutsch has constructed a new, one-minute story. There has been no technical correction of the found footage; we see it as a cinematic object with all its damage and dirt, in its entire width with optical soundtrack and perforation. The story of the objet trouvé becomes a symbol of the cinematographic cosmos. Gustav Deutsch’s work can be understood as a reminiscence of and homage to the history of film and cinema – under special consideration of the country with the world’s largest film production.

 

GUSTAV DEUTSCH: FILM SPRICHT VIELE SPRACHEN

Austria, 1995, 1 minute
35 mm/1.66:1/color
Montage: Gustav Deutsch

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