Image of movie Kapinynas
Image of movie Kapinynas
Image of movie Kapinynas
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Kapinynas

Burial
Emilija Škarnulytė
Litauen, Norwegen 2022
60 min
OmeU

Bevor die EU seine Stilllegung einforderte, war das litauische Kernkraftwerk Ignalina – vom gleichen Bautyp wie jenes in Tschernobyl – eine der größten Reaktoranlagen der Welt. Der bis 2038 andauernde Rückbau der radioaktiven Ruine ist nicht weniger aufwändig als der damalige Aufbau, die Lagerung der Brennstäbe wie überall auf lange Sicht ungewiss. Statt erklärfreudiger Experten lässt die Regisseurin in einer abenteuerlichen visuellen Volte eine neugierig züngelnde Python die zu hundertfachen Ornamenten angeordneten Kontrollinstrumente begutachten. Sie kann sich häuten – auch das ist zu sehen –, doch wie soll begraben werden, was auf ewig bleiben will? (Stephan Settele)

In Anwesenheit von Emilija Škarnulytė.

Who could imagine that an experimental documentary about the dismantlement of the world’s largest nuclear plant could also extend to include a survey of 20th century painting, a political statement, a site for meditation and a philosophical song about annihilation and creation being parts of the same process? Lithuanian filmmaker Emilija Škarnulytė could imagine precisely that and did so accordingly, and her vision is so spellbinding that it shows how the finest lessons of 2001: A SPACE ODYSSEY in merging art and science can be creatively applied, as can those from the early films of Alain Resnais in executing slow, steady and hallucinatory camera crawls across, into and around documentary subjects. “In my films from the last ten years,” she has said, “I have mostly researched places where contemporary political issues are staged between human and non-human worlds, the shifting boundaries between ecological and cosmic forces. I want to feel out all kinds of non-human and post-human scales in the depths of space and time.” Thus her opening images offer rocks that resemble planets, a voluptuous nuclear explosion is rhymed with trees and a snake slithering around the same circuitry previously traversed by her camera becomes a bold Surrealist encounter. (Jonathan Rosenbaum)

In the presence of Emilija Škarnulytė.

Emilija Škarnulytė: ALDONA (2013, K), MIRROR MATTER (2018, K), SIRENOMELIA (2018, K), ABSOLUTE DATING (2021, Installation), CIRCULAR TIME. FOR ALEKSANDRA KASUBA (2021, K), ETERNAL RETURN (2021, Installation), APHOTIC ZONE (2022, K)

Credits
  • Emilija Škarnulytė
  • Eitvydas Doškus
  • Audrius Budrys
  • Adam Khalil
  • Emilija Škarnulytė
  • Vytis Puronas
  • Mykolas Žukauskas
  • Darius Šilėnas
  • Gaute Barlindhaug
Just a moment, Mer Film

Just a moment

DCP
Farbe
Sa. 29 Okt
18:30
Urania
OmeU
iCal
Mo. 31 Okt
13:30
Metro, Historischer Saal
OmeU
iCal
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