HER NAME WAS EUROPA
Her Name was Europa
HER NAME WAS EUROPA
Features

Her Name Was Europa

Anja Dornieden, Juan David González Monroy
Deutschland 2020
76min
OmeU

Der Stier, der seinerzeit Europa entführte, war vermutlich ein Auerochse. Es gibt Bemühungen, diese seit 1627 ausgestorbene, wilde Urform des Hausrindes – man(n) stellt sie sich gern mit mächtigem Gehörn vor – durch Rückzüchtung wiederzuerwecken. Bemühungen, die in diesem klugen, schwarzweißen Essayfilm nicht ohne Ironie dem zunächst erstaunten, sodann erhellten Publikum dargelegt werden. Wenn nicht gerade der Blick (ab)schweift, beispielsweise auf Styropor-Tiere, die in Indoor-Resorts für tropisches Flair sorgen. Dazwischen geschoben die mehr oder weniger ingrimmigen Charaktergesichter einzelner Vertreter vom Aussterben bedrohter Tierarten, die zu fragen scheinen: Geht’s noch?! (Alexandra Seitz)

In Anwesenheit von Anja Dornieden und Juan David González Monroy.

“No doubt it is an unusual idea to resurrect a dead animal”. The quote is from Lutz Heck, a German zoologist, author, and friend of Hermann Göring, who dreamed of resurrecting the aurochs, an ancestor of modern cattle, and having it roam through primeval Aryan forests once again. Animal photos from one of Heck’s books structure the film, together with endearingly homemade intertitles on plastic transparencies, but Heck is not the only one to feel the aurochs’ strange pull. Present-day scientists in the Netherlands are equally seeking to recreate this extinct beast, albeit within an entirely different ideological framework, examining similar breeds, extracting genes, commissioning drawings and models; but, as an illustrator remarks, you can’t create anything that’s gone, only something that looks like it. And all the ravishing black-and-white celluloid images of cattle suggest that the directors are just as fascinated by the aurochs, even if their thematic interest wanders to ever greater abstraction too. Like the two sets of film stock used to shoot the same procedure, like the different covers of Heck’s book, like the vast rainforest reproduced in a Brandenburg hangar: a copy can impress, deceive or seduce, but the original is another thing entirely. (James Lattimer)

In the presence of Anja Dornieden and Juan David González Monroy.

Anja Dornieden, Juan David González: AWE SHOCKS (2011, K), ORO PARECE (2012, K), EIGENHEIM (2012, K), A FLEA’S SKIN WOULD BE TOO BIG FOR YOU (2013, K), GENTE PERRA (2014, K), WOLKENSCHATTEN (2014, K), THE MASKED MONKEYS (2015, K), HELIOPOLIS HELIOPOLIS (2016, K), COMFORT STATIONS (2018, K), THE SKIN IS GOOD (2018, K)

Credits
  • Anja Dornieden
  • Juan David González Monroy
  • Christian Obermaier
  • Anja Dornieden
  • Juan David González Monroy
  • Anja Dornieden
  • Juan David González Monroy
  • Anja Dornieden
  • Juan David González Monroy
Ojoboca

Arsenal – Institut für Film und Videokunst

16 mm
SW
Fr. 23 Okt
21:00
Filmmuseum
OmeU
Sa. 24 Okt
19:15
Metro, Historischer Saal
OmeU
So. 25 Okt
19:00
Metro, Historischer Saal
OmeU
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