Oct 15th - Nov 24th, 2015

Mini Doc Festival Hanoi
(30.10.2015 – 01.11.2015)

[ supported by the Goethe-Institute Vietnam
and the Braunschweig University of Art (HBK) ]

Programm 1 | program 1
Werkschau Michael Brynntrup | Portrait Michael Brynntrup

[ 64 min | 1983-2010 | 7 filmvideo ]

Sun, 01.11.2015, 15.00-16.40h - Hanoi, Hanoi DocLab / MiniDocFest


Being used to a certain aesthetic presented in mainstream TV and cinema, people often find experimental short films strange and hard to digest. However the personal works of Michael Brynntrup, one of the most profilic German filmmakers working mainly on the underground circuit, are regarded as small jewels of cinematic culture that are very appealing and attract enthusiastic audiences.

Michael Brynntrup often performs the leading role in his movies. Yet his films are different than the films originating from an autobiographical filmmaking tradition in North America who use private lives as a form of artistic expression. When Michael Brynntrup exposes his subjectivity, it's not a one-to-one representation and he addreses always the human being in general. His films can be seen as experimental reflections of a narcissistic artist who presents himself as a man portraying himself to others who are supposed to recognise themselves in him.

"I see cinema, in essence, not as mass media, but as an individual experience that takes place in the mind of each viewer." (Michael Brynntrup) He leaves the audience to decide on the ambivalence of his work and to reflect on themselves while identifying with the exposed character in the film. As an experimental and independent filmmaker who sees his work as a medial self-reflection (film as metafilm) and working from a gay male perspective, he tries to direct his films to different contextual and technical limits. How well can reality be presented? What limits do morals and the media set? Despite his preoccupation with heavy existential themes of death and personal identity in his work, his vision is often ironic. He is able to integrate a personal diaristic strategy using humour and pathos to subvert, to create films which are both intimate and visually stunning.

(Tampere International Short Film Festival, catalogue 2004 - Maarit Jaakkola)
TODESSTREIFEN - ein deutscher Film
9 min | 1983 | Super8 + 35mm | col | sound [MBCFILM#02]
(Dreifachprojektion) | (triple projection)
Between an overgrown West Berlin graveyard and a desolate stretch of land under communist rule, there is a supposedly dead no-man's land. - Around noon, the main character arrives at this inevitable place.
{Information sheet of the film, 1983}

At the start of 1983, Brynntrup joined forces with almost twenty filmmakers, artists, musicians, and others active in the squatter cinema movement to form the collective OYKO. [...] On July 17, 1983 in the Hasenheide park in Kreuzberg, OYKO put on their first public event: a five screen – better, a five bed sheet – open air projection of super-8 films accompanied by live music. Such an expanded cinema event was not untypical in the super-8 world, in which innovative and performative modes of film exhibition flourished.
(Marc Siegel, "Reflections on Arriving [...]", In: "West Berlin Film in the ‘80s", b_books verlag, Berlin, 2008)
DER RHEIN - ein deutsches Märchen
THE RHINE - A German Fairy Tale
12 min | 1983 | Super8 + 16mm | col | sound [MBCFILM#05]
(Heimatfilm) | (home movie)
Where I come from, people stay at home.
Except when they go on holiday or off to war.
{Information sheet of the film, 1983}

Some filmmakers, like Michael Brynntrup, blissfully ignore conventional technical limitations and expand the presentation possibilities for super-8mm. Brynntrup's single-screen »The Rhine, A German Tale« (»Der Rhein, ein deutsches Märchen«, 1983) is an ambiguous reworking of a home movie of a family trip which the filmmaker layers so that an uncomfortable equation is made between sentiment of nostalgia and the spirit of war.
(Berlinart, exhibition catalogue Museum of Modern Art, New York 1987 - Laurence Kardish)
THE STATICS - Engineering Memory Bridges
21 min | 1990 | 16mm | bw | sound [MBCFILM#32]
(Filmpuzzle) | (puzzle film)
Rests and tests from the inquiry into prototypes.
Formal proofs through pregnant experiments on one's own body.
{Information sheet of the film, 1990}

Test cards, doodlings, film techniques and visual experiments - the mechanics of film itself form the narrative of »Die Statik der Eselsbrücken«. And again, the result is hypnotic.
(headpress Manchester, 3/91 - David Kerekes)
HERZSOFORT.SETZUNG II (autogene Manipulationen)
HEART.INSTANT/IATION II (Autogenous Manipulations)
7:15 min | 1996 | BetaSP + 16mm | col | sound [MBCFILM#50]
(serielles Selbstportrait) | (selfportrait serial)
A medium is not an abbreviation that brings one thing to another, but rather a third added to two. A medium is not static, not a bridge, but develops a life of its own whenever activated.
The ECG of metempsychosis (from the genes to the zodiac).
Electrographics of the 4th Dimension.
{Information sheet of the film, 1996}

»Herzsofort.Setzung« is under no cirumstances a mindless rehearsal of various mediaforms. In spite of different forms like Super8, CD-Rom, VHS-Video, colour copy or computer print, that are presented sometimes in an absurd manner, the single generation of the pictures are linked by the pleasure lying in - the uncertainty of the process, also in the formulation of the question. What remains from the transformed man after his bath in the media?
(Filmwinter, Festival Catalogue 1996 - Ulrich Wegenast)
TABU V (wovon man nicht sprechen kann)
TABU V (About Which One Cannot Speak)
13:00 min | 1998 | 16mm | col | sound [MBCFILM#52]
(Tagebuchfilm) | (film diary)
About which one cannot speak, one must make films.
(loosely based on Ludwig Wittgenstein)
{Information sheet of the film, 1998}

TABU V plays with the medium of film in a light-hearted and inquisitive manner; a concentrated, intelligent and multilayered film in which wit is juxtaposed assuredly with profound, searching analysis.
(New York Film Academy Award - Best Short Film, Panorama 1998)
The Hong Kong Showcase (eine Fallstudie)
The Hong Kong Showcase (a case study)
3:20 min | 2005 | DV | col | stereo [MBCFILM#64]
(minikino) | (micro movie)
“The world is everything that is the showcase.”
Living in a globalized world - a case study.
(loosely based on Ludwig Wittgenstein, Tractatus logico-philosophicus, sentence no.1)
{Information sheet of the film, 2005}

The Emporio Armani shop window in Hong Kong is a small theatre of the global fashion industry. At night, a window cleaner sways across the stage, accompanied by classical Chinese music.
(http://www.idfa.nl/idfa_en_filmdescription.asp?filmid=27497, October 2006)
1:35 min | 2010 | DV + flash | bw+col | stereo [MBCFILM#73]
(quadratischer Film) | (square film)
No Facebook! Just homepage.
A corporate video on the 11th anniversary of my website on the 'Digital Day', 10-10-10.
{Information sheet of the film, 2007}