Kopfüber im Geäst2009 15min 16mm Farbe+s/w stumm
Verleih: Arsenal Distribution
gefördert von der Medienboard GmbH
Hanging Upside Down In The Branches
2009 15min 16mm color+b&w silent
Distribution: Arsenal Distribution
Eine Montage aus kurzen Erinnerungsbildern, gefilmt zwischen 2000 und 2007, dem Tod meiner Mutter und dem Tod meines Vaters. Ich bestaune die Verwandlung von Orten und Gefühlen, erwachsen inmitten von Kindheitsstimmungen.
"Ute Aurand’s Hanging upside down in the Branches is a gentle,
generous and unsparing portrait of the filmmaker’s parents, whose
passing is marked by remembrance and the loving recording of them."
Andréa Picard, Wavelengths 2009, Toronto International Film Festival
Premiere: Wavelengths, Toronto International Film Festival 2009; IFFR Rotterdam 2010; Kurzfilmtage Oberhausen 2010; Media City Film Festival Windsor, Kanada 2010, Views from the Avant Garde, NY 2010.
A montage of brief recollections filmed in the years before the death of my mother in 2000 and the death of my father in 2007. I stand as an adult in the midst of childhood feelings, gazing at the disappearance of my family home and the changing relation to my parents.
"More than any other single film that I have seen so far in this year's Wavelengths programs, Ute Aurand's achingly lovely Hanging upside down in the Branches is a paradigmatic example of programmer Andréa Picard's unique vision. Perhaps too personal, too domestic, to register with certain other tastemakers, Hanging upside down in the Branches is precisely the kind of "small" film too often overlooked because of the fundamental modesty of its approach. (...) Aurand is zeroing in on the absolutely singular, exquisite textures of the daily life around her - (...) Separated by white flash-frames, individual moments pop like fleeting revelations, the seconds whose very preciousness is defined by their ineffability. (...) Hanging upside down in the Branches is, in some way, a diary film, but one that records sensual phenomena rather than narrative event. Or, perhaps more properly stated, Aurand generates flashes of illumination, collecting them from the slow drift of everyday existence, allowing them to achieve a hieratic character. And yet, in their filmic arrangement, in the assembly and temporal re-experience, they become a different kind of narrative, a story of us all that insists on absolute particularity, insisting that these images only mean anything because they are of these people who Aurand has deeply loved." Michael Sicinski, TIFF 2009