Lamaland (Teil I)

V'18

Lamaland (Teil I)

Lamaland (Part I)

Pablo Sigg
Mexiko/CH, 2018
Features, 91min, kein Dialog

© Viennale © Viennale © Viennale

Lamaland (Teil I)

Pablo Sigg
Mexiko/CH, 2018
Features, 91min, kein Dialog

Mit: 
Friedrich Schweikhart
Max Josef Schweikhart
Drehbuch: 
Pablo Sigg
Ton: 
Pablo Sigg
Kamera: 
Pablo Sigg
Schnitt: 
Emilio del Cañal
Musik: 
James Tenney
Richard Wagner
Friedrich Nietzsche

Produktion: 
Siggfilm
Weltvertrieb: 
Siggfilm
Format: 
DCP
Farbe und Schwarz/Weiß

Im gesamten Film tropft ein einziges Wort nur aus dem Mund des greisen Mannes in die vegetative Zeitlosigkeit eines von hypnotischer Ermattung erfassten Lebens. Die Stimme gehört einem der beiden verwahrlosten Brüder, letzte Nachfahren der von Richard Wagner angeregten, von Nietzsches rassistischer Schwester einst im Dschungel Südamerikas verwalteten arischen Mustersiedlung „Nueva Germania“. Mehr als hundert Jahre Einsamkeit und stummer Wahn seitdem, Spinnen an der Wand und verirrte Radiopredigten im Inneren der Hütte. Draußen wartet nur noch das Grab. Tropisches Trance-Kino als radikale Entschleunigungsübung. (Stephan Settele)

In Anwesenheit von Pablo Sigg.

 

Here is the embodiment of Nihilism, perhaps the ultimate diabolic expression: Life moves nowhere; there is no plan, no telos; the present circulates endlessly, repetitively, and the matter of the world itself is falling down into the abyss. Within this bloodless ontology, two brothers who survived a religious, “utopian” experience in the 1880’s are devoted to stubbornly perpetuate themselves in a world marked by monotony and lack of action. The worn-out bodies of the Schweikhart brothers – the last witnesses of the Arian community founded by Elizabeth F. Nietzsche in 1887, in a place that was known as Nueva Germania – seemed to be destined to putrefaction, just as all living things surrounding them. The ethnical madness is only perceived when we hear Richard Wagner’s music and the brothers rest. Also, when the only word pronounced out loud is the term “Satan.” What makes Sigg’s film uncomfortable is his obstinate determination to maintain an intolerable degree-zero of narration. This entails long shots and mechanical activities; the greatest mystery is born out of the sound of some tension wires and the only activity that goes against the grain of this portrait on the consecration of nothingness itself has to do with the resistance that the sound – conceived as a first-rate nature – has to offer. (Roger Koza)

In the presence of Pablo Sigg

Pablo Sigg: 134 EXHIBITS (2009, K), WHAT AN EXCELLENT DAY FOR AN EXORCISM (2010), DER WILLE ZUR MACHT (2013), I, OF WHOM I KNOW NOTHING (2014)