GER 1920, D: Paul Wegener, Carl Boese, A: Paul Wegener, Albert Steinrück, Lyda Salmonova, Ernst Deutsch, 76′, tinted, DCP 4K
Live scoring THE GOLEM by Paul Wegener and Carl Boese from 1920, the expressionist classic of Weimar cinema, appears fairly hidden. The story of Rabbi Löw who creates the clay figure Golem to avert the imminent expulsion of inhabitants of the Jewish ghetto of Prague in the 16th century. Out of a linkage of unfortunate circumstances, the figure subsequently opposes its creator. The film’s buildings, designed by Hans Poelzig, were leading the way for further set designs to come – until today, THE GOLEM is considered as a prototype for the horror genre. Everywhere, there are thronging phantasmagorias, nightmares of a world whose human faces have become grimaces, whose streets have got steep mountain paths, whose dwellings are warped and in danger of collapsing.
Similar to the magic the clay is being vitalised with turning it into a golem, Colombian sound artist and former geotechnical engineer Lucrecia Dalt will energise new abysses inside the images with her deep bass frequencies. Dalt is an internationally booked and acclaimed musician and performer. She moves freely between academic or museum settings and club contexts. In her subtle soundscapes, she subverts overly rigid ideas of form, experiments with South American rhythms, looped drone sounds and unique spoken word passages. She has transferred a geological framework to her musical approach: she compares her songwriting to ground and rock layers, which have deposited on earth’s surface as one large mass and yet are composited of single elements with individual characteristics. What emerges tonally is an unprecedented, surrealistically accumulated terrain.
4 September, 9 pm – UT Connewitz – € 10
Hey folks! The GEGENkino cooks are standing at the stove again, that is: are still standing at the stove, stirring and stirring. Everything has been bubbling and seething for over a year – the final meal has been postponed, prohibited, adjourned. Meanwhile, the pot’s content has been simmering away – so, this could turn into a really good bolognese. There’s enough to go round, so please give everyone a shout – friends & lovers welcome!
For late summer, we are planning a variant of the festival that is modified to actual circumstances, that is taking place inside – real cinema feeling! – that additionally presents selected, analogue open air screenings on the last warm days of the year.
GEGENkino takes place from August 26 to September 05 – at UT Connewitz, Luru-Kino at the Spinnerei, Schaubühne Lindenfels, 2cl Sommerkino on Conne Island and Plagwitzer Markthalle – more information concerning the programme soon here, at facebook or at instagram. Keep us in good memory – we’re already full of pleasant anticipation to finally see you again, to have a drink with you, being able to chat and discuss with you – caramba!
Dear GEGENkino folks,
we will cancel the festival in April.
Hopefully we’ll be able to do our edition no. 7 in the near future!
Warmest regards from the GEGENkino crew
We’re back! From April 16th to 26th the GEGENkino engines will be running hot again: at Luru Kino at the Spinnerei, at Schaubühne Lindenfels, at Institut fuer Zukunft and at UT Connewitz.
One of this year’s highlights is the German premiere of the live scoring of the film THE GOLEM, HOW HE CAME INTO THE WORLD by Berlin based artist Lucrecia Dalt:
On Friday, April 17th, 2020 at 9 pm at Connewitz UT.
T I C K E T S for 10 Euro are available at culton at Peterssteinweg 9 and online at tixforgigs.
paradoks brings together video installations of local and international artists who work on the intersections of film, art and activism and whose approach and aesthetics operate at the edges of documentary filmmaking. In their work, facts are modified by fictionalised, journalistic and investigative techniques like image processing methods and re-enactments. The exhibition consists of a selection of multichannel video installations which are grouped into two thematic areas. While ‘Arrival’ deals with the different realities of migration and (non)arrival in German society, ‘Precarious Bodies’ explores the working conditions of contemporary artistic production. There will also be a panel discussion on the 27th of October, inviting artists and curators to discuss the activist potential inherent in these constantly shifting boundaries. Which approaches and methods can provide adequate counter images in view of political conditions in the age of fake news and increasing right-wing populism?