In our VIENNALE DAILIES you will be informed daily about what is happening at the festival - today: festival finale!
The body is not only ruled by our brains. It's also shared with the "Unknown", it's a frontier for us. We're controlled by fear of our body being violated. That restrains us, and one way patriarchy found to control women is through their bodies. Because, in the end, the scariest thing that can happen to you is something that happens to or within your body.
(Juliana Rojas)
FILMTIPS FOR TODAY
Rendez-vous avec Pol Pot
Rithy Panh | France, Cambodia, Taiwan, Turkey, Qatar | 112 min | OV w/EN subtitles
Tuesday, October 29, 1.00 pm: GARTENBAUKINO
For much of his career, Rithy Panh has explored symbols and incarnations, documentary theatricality and the memories contained within gestures and bodies to reconstruct and thus grasp Cambodia’s traumatic past. However, when words, images, archives and memory are incapable of reconstructing what is broken, there is no other choice but to draw on fiction to try better comprehend history. RENDEZ-VOUS AVEC POL POT thus embraces fiction to reconstruct the interview that three French journalists conducted with the Cambodian leader in 1973. Using actors and wooden figures interspersed with archive material, Panh makes the paranoia, terror, propaganda and daily routines of that visit painfully tangible: timeouts, speeches by converts, rigid control mechanism and unrelenting heat. The film is a portrait of the oppressive atmosphere that surrounds unquestioned power. As in his previous films, Panh returns to the historical setting and shows us exclusively what the journalists saw. The images of what happened in the country are still denied to us, just as they were to the journalists. Above all RENDEZVOUS AVEC POL POT is a film about what could not, and still cannot, be filmed. (Gonzalo de Pedro
SLEEP #2
Radu Jude | Romania 2024 | 62 min | kD, eZT
Tuesday, October 29, 11.00 am: FILMMUSEUM
In 1963, Andy Warhol used five rolls of 16mm film to capture his then-partner John Giorno in the act of slumber for 321 minutes. For his part, Radu Jude uses an Internet livestream recorded from January ‘22 to January ‘23, whose exclusive object of observation is Warhol’s grave. The concept of the two films may be similar, but their approaches are different. Jude pares down the material to an hour in length and allows the seeming monotony of the frame—its position remains unvaried, although its distance from the subject at times does—to be interrupted by sporadic changes and situations that deprive the mausoleum of any aura of transcendence, even as it retains the mystery of everyday life. The actions of the visitors and workers at the cemetery say much more about the living than the dead, including those non-human guests to the gravesite. If Warhol managed to glimpse some sort of aesthetic dimension in Campbell soup cans, Jude does much the same in selecting the recorded fragments that make up this meaningful tribute, finding beauty in certain shots—especially those of the snow—while a quote from Warhol himself and three haikus by Buson, Bashō and Shoha offer extra nuance. (Roger Koza)
In the presence of Radu Jude.
Tuesday, October 29, 4.00 pm: FILMMUSEUM
CITY EMPIRES
Robert Kramer | France 1998 | 24 min | OV
Cités de la plaine
Robert Kramer | France 2000 | 110 min | OV w/EN subtitles
For a discussion with Rem Koolhaas at the Centre Pompidou entitled “Architecte et cinéaste” in April 1998, Kramer compiled scenes from ROUTE ONE/USA (1989), DIESEL (1985), À TOUTE ALLURE (1982), BERLIN 10/90 (1991), SOUS LE VENT (1991) and GHOSTS OF ELECTRICITY (1997). CITY EMPIRES shows cities and spaces in their dialectic of freedom and imprisonment, architectures of today, yesterday and tomorrow. In the same year, Kramer began work on CITÉS DE LA PLAINE, his last film. An urban planner from EuraLille is part of the ensemble of characters, while the spaces, forms and times blur into a dense, dream-like fabric with seamless transitions between different places as well as the present and the past. A cinematic stream of consciousness structured as a series of flashbacks that are constantly reconfigured in the mind of Ben, the blind protagonist. From Kramer’s notes: “The blind man is an old man in a black hole, and like a black hole, this place is of a tremendous density and is only illuminated by harsh streams of white light.” (Volker Pantenburg)
RETROSPECTIVE ROBERT KRAMER - UNTIL NOVEMBER 28!
All information about the retrospective and the screening dates after October 29 can be found HERE! Tickets for all dates after the Viennale are available directly via Filmmuseum.
SOME OF OUR GUESTS TODAY
Juliana Rojas:
Monography: SHIFTING GENRES, UNTAMED BODIES
Pablo Marín
Director of
MATERIA VIBRANTE
Pablo Sigg
Director of
PARADIES
Ute Aurand
Director of
TO BRASIL
Henry Hills
Director of
COMMUTE
Katharina Bayer
Director of
RESONANCE
VIDEO OF THE DAY
All V'24 videos can be found here in a practical overview!
PRESS
Die USA vor den Wahlen im Fokus der Viennale - Abgesang auf den amerikanischen Traum
