Rose Hobart

In 1958 Angelo, a rich and spoiled boy, enters a religious school, where students are tired of its vice-rector, and the strict rules and old-fashioned teaching methods of priests. Soon, Angelo exerts strong leadership among his peers and incites turmoil among them, helped by intellectual Franco and shy Camma. They expel the prefect from the school, organize a Grand Guignol show, and disappear the corpse of an old professor.

After the end of civilization, an aged man undergoes a mysterious journey through space and time that takes him through memories, visions, and historical events, ultimately transcending the limitations of the senses and into a new cosmic rebirth.

George Abitbol, the classiest man in the world, dies tragically during a cruise. The director of an American newspaper, wondering about the meaning of these intriguing final words, asks his three best investigators, Dave, Peter and Steven, to solve the mystery. (Sixteen French actors dub scenes from various Warner Bros. films to create a parody of Citizen Kane, 1941.)

A city is made of people. Here, the figure of the gaze establishes a central role in the relationship with the urban environment, perceiving the interferences and constant verticalization of the contemporary world. How much, in the end, is human nature contracted by the city?

An ancient king takes so long to build his palace it becomes his mausoleum. He recalls days of his life both cold and hot – unquenchable longing for power, insatiable desire tout court.

In her recent films, Geiser has been exploring the possibilities found in merging video texture with film, creating a kind of deep, ambiguous space, a suggestion of “the floating world”. In ULTIMA THULE, gravity fails, land and sky lose their historical meaning. A small silver plane navigates an ultramarine storm, flying over barely-glimpsed hills, an unlikely ferry to ”Ultima Thule”: the farthest point north, the limit of any journey. The seduction of immersion in blue is too strong to avoid, the land fills with water, and time loses its line.

A multimedia sex-ed video about life and love in a world where humans have corkscrew penises and corkscrew vaginas.

A collage of images and voices of women poets that succeeds brilliantly, both as a tribute to the women whose words are borrowed and as an original videopoem.

In the year 3003, two scientists find a primitive being called Ooga Ooga in the middle of the woods. They decide to adopt him and try to insert him into today's society.

For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).

An artistic short film directed by Stan Vanderbeek.