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The Best Werner Nekes Directed Movies

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poster

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20

/1/

50

/2/

Picture montage was a central aspect in the early history of visual media. As early as the 16th century, techniques such as the folding picture montage anticipated those used in film today. Other examples of early forms of montage are transparencies, picture puzzles and blow books, which direct the gaze towards hidden information. In the myriorame, the multi-thousand picture-show, it is possible to assemble infinite landscapes.

poster

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20

/1/

The film looks at ways of creating spezial illusions through amiguous images, perspective theatres, folding peepshows and from the 19th century, the stereoscope, which look forward to today’s holography.

poster

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10

/1/

N/A

poster

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10

/1/

Changing landscape as the same day progresses.

poster

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7.0

/6/

10

/1/

This film is a poetic endeavor about Life and Death. A brown hen was selected to convey motion. The soundtrack is a collage of approximately 200 beginnings and endings of different musical pieces.

poster

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5.5

/30/

40

/2/

16

/3/

The painter gazes at his female model, or how voyeurism is transformed into culture. An erotic adventure film where the theme is the viewer himself.

poster

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10

/1/

“ Cinema is what happens between frames," said German experimental filmmaker Werner Nekes. A woman and a man are on the ground together but it looks as though they are floating without moving. Silence overruns the scene; she stops and walks away. La Noche Bengalí is a documentary made as part of the seminar that Wernes Nekes held in Buenos Aires in 1980, sponsored by the Goethe Institute.

poster

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7.6

/41/

10

/1/

70

/5/

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

poster

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7.3

/8/

An experimental film about the interpenetration of various levels of communication, dealing with the relationship of the pictorial functions to those of sound (direct sound).

poster

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6.6

/43/

25

/2/

41

/8/

The film is divided into five parts differing in pictorial and musical structure. The plot, two women and their love for one another, is of secondary importance. An ingenious combination of stereoscopic images and montage of individual pictures make new qualities of perception accessible to the viewer. In the final part of the love scenes pictorial sequences and music build up to a delirious rhythm.

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6.9

/22/

10

/1/

85

/2/

"...Nekes retreats behind his film. What is left is a double portrait, in which neither Dore 0. nor the grand landscape remain unchanged. The cold of the icy coastline - long shots of stones, snow and the sea - dwindles away before the image of Dore 0. Solitude is superflous, when the grandiose mountain meadow invites somersaults. ... In this case Nekes handles what he shows considerately. He releases the objects he portrays. He allows them to unfold. And so model and patterns actually serve another purpose: to let poetry grow, and energy and beauty and confidence nell'abbandono." (Dietrich Kuhlbrodt, Filmkritik, 9/1971).

poster

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10

/1/

Dore O. and later Nekes speak to each other and into the camera, slowly and deliberately like a speech exercise, quickly like a tongue twister or in competition with each other, accentuated rhythmically or rubato, until the silent noise becomes piercing and rings in the ears. As in a mirror joke, Zerroptik also involves the viewer in the erotic duet, which persistently elicits all the comedy and latent horrors of a sudden discovery from the field of associations of the strange sentence.

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10

/1/

N/A

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10

/1/

N/A

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10

/1/

N/A

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10

/1/

N/A

?

10

/1/

N/A

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10

/1/

N/A

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10

/1/

Cinematic observations from the windows of my apartment. Structure and beauty of the pictures are related to my earlier film 'gurtrug No.1'. Certainly my aderation for Pieter Brueghel also plays a role.

poster

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10

/1/

A satire with cinematical comedy. No other medium would permit this specific form. The comic potential of pithy scraps of dialogue between safari companions, of Tarzan's war-cries and love-stammerings was amplified by illustrating these sounds with pictures of a friendly German wood and homely elephants in a zoo. (Peter Steinhart)

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10

/1/

N/A

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10

/1/

SPACECUT makes the frame a very strong culminating structure. Every frame is different, yet the almost half hour assembly of images results in a picture of one place being filmed. SPACECUT has two sections, the second being the frame composite, whereas the first consists of long takes. Within the swirling, fleeting frames the eye receives picture after picture like an enormous, exciting puzzle. Strangely enough, it receives it only by absorption - of the sky, trees, valley, rocks, shadows. The automatic retention of these flashes gives you a sense of being in this bowl of land made by the golddiggers in 1871. You might think that this use of single frames would hurt the eye, but in fact it does not. Rather the experience is one of total relaxation. (Stephen Dwoskin)

poster

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10

/1/

The film is a reflection upon life and it reflects itself in a surprising time-construction... a composition of two triangular pictures, one over the other and touching at their tips. An almost monotonous similarity, subjected to no more than subtle changes, allows the spectator a number of diverse visual perspectives. (Hans Peter Kochenrath)

poster

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10

/1/

N/A

poster

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10

/1/

A grotesque review of actions performed in vain and those of frustration incarnate: it is about the vain attempt to button up a pair of briefs, the failure of a cavalier, a voyeur, a couple taking part in a dance contest; five fragmentary scenes running backwards and forward, standing upright and on their head, accelerated and recurring in cuts that vary in length. A film about the voyeur in the auditorium, who is made to participate in the frustration, and about the underlying schmaltzy music, he actually shares in. (Jörg Peter Feurich)

poster

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10

/1/

N/A

?

10

/1/

N/A

poster

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10

/1/

I. Demonstration of divergent movements of 26 people and two horses. II. Periodic interruption by a second filmic plane. III. A segment of music repeated in a row.

poster

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10

/1/

N/A

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10

/1/

Based on principles of double projection. Here, two pictures are projected on top of each other: on the upper screen is K, the head of the actor, while ÖRPER can be seen on the lower picture. The head can move in harmony and disharmony with his body.

poster

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7.0

/7/

10

/1/

64

/9/

N/A

poster

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10

/1/

This film, conceived for an "oral culture" shows cows on a pasture in Northern Germany in one single shot. With interruptions, the cows seem to attempt to concentrate on the camera... until at last two cars glide past in the background, the film's climax, gratefully received by an applauding audience... (Peter Steinhart)

poster

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6.0

/27/

50

/3/

50

/4/

A montage experiment in which Dore O., her body painted in different colours, swings back and forth in front of a movie screen, on which is painted a phallus (slightly abstract and fairly large). The perspective is such that the girl appears to be swinging into and out of the phallus. It is one who is content to see through the specific event. The work exhausts itself in a trivial aspect, the literary. This is most comfortable for the critic: the literary content of a work is easiest to reproduce in a literary form of criticism.

poster

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6.2

/22/

10

/1/

40

/1/

"KELEK belongs to the 'structural' or 'minimal' cinema movement in that its content is subordinated to the viewer's perception and has no intrinsic significance. Unlike most examples of this genre, though, KELEK is never boring and is brought to a new awareness of the process of perception. The five basic shots of the film have to be filled by the viewer's own consciousness and there is absolutely no opportunity given for any spurious identification." Werner Nekes

poster

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7.1

/13/

50

/2/

A sequence of 4 films: knots, texture, web, plaited--four approaches of writing with light to reflect the possibilities of painting within film.

poster

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10

/1/

A part of Werner Nekes' lyrical anthology DIWAN.

poster

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8.4

/8/

10

/1/

90

/1/

A part of Werner Nekes' lyrical anthology DIWAN.

poster

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5.8

/95/

40

/5/

54

/5/

Hynningen (Swedish for ‘honey roof’) begins with long multiple exposures of a landscape with a clearing, opening up to the horizon.

poster

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10

/1/

A part of Werner Nekes' lyrical anthology DIWAN.

poster

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7.4

/6/

10

/1/

A part of Werner Nekes' lyrical anthology DIWAN.

poster

66

?

6.7

/538/

55

/7/

74

/8/

3.5

/216/

Jurgen is an unknown electrician with a dream of pop stardom. His mother browbeats him into fame, while two managers compete for his contract. All Johnny really wants to do is get some sleep.

poster

?

6.0

/23/

15

/2/

57

/3/

The German artist Joseph Beuys is reflecting on his theory of art, being filmed as a kinetic sculpture. In 1981, the film has won the German film critic's award for “Best short film in Germany”.

poster

?

5.5

/74/

36

/3/

38

/5/

Director Werner Nekes has created this experimental film in the mode of James Joyce's Ulysses to the extent that human interactions are represented by poetic, symbolic images and language, with a certain amount of nudity added in.

poster

64

?

6.9

/148/

40

/2/

81

/7/

3.3

/258/

An exhilarating and amusing encyclopedic look at the "prehistory" of cinema. Werner Nekes charts the fascination with moving pictures which led to the birth of film, covering shadow plays, peep shows, flip books, flicks, magic lanterns, lithopanes, panoramic, scrolls, colorful forms of early animation, and numerous other historical artiffices. Working with these formats, early "producers" created melodramas, comedies, -- as well as lots of pornography -- anticipating most of the forms known today. Nekes probes these colorful toys and inventions in a rich and rewarding optical experience. Film Before Film is a bewildering assault of exotic (and sometimes erotic) images and illusions.

poster

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7.1

/51/

50

/2/

63

/3/

Makimono is an Asian roll painting depicting a landscape. The subject of the film is the language of film itself, its mutability and its influence on the viewer's vision and thinking. While the film gradually progresses the viewer is gently invited to reflect on the development of the film in its expressive potential.

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10

/1/

N/A

poster

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10

/1/

100

/1/

A fixed shot showing six persons, looking into the camera inertly. Gradually tiny, minimal movements can be registered.

poster

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An expedition report (a winter sailing trip down the Elbe), and a document about filmmakers who leave a city because it's more hospitable elsewhere, reflections, reflexes.

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