An exhilarating dance of spots of colour and traces of wear and decomposition. The abstract earth-coloured texture is reminiscent of Stan Brakhage`s work.
A home movie from the 1960s: A man and a woman are eating and drinking. Gradually the film strip begins to crack, scratches appear, the colors change, and it dissolves. In the same way as the memories of these events fade, so too does the film. Abendmahl is the third and last part of a trilogy dealing with the extinction of memories.
The Lovers is the second part of a small triology, dealing with the extinction of memories. In the first part, The Bathers, two protagonists were subject to the chemical decomposition of the film material. The Lovers, on the other hand, transforms an old Super8 porn film into both a tragic love story and a horror movie, and finally into a memory that is being destroyed in the inner world.
Low Definition Control – Malfunctions #0
Regardless of where we walk or where we stand, we’re being watched: In a society in which the public space is primarily regarded a source of risks, nearly everything depends on constant surveillance. And so the most banal of activities (such as eating a sandwich or carrying a suitcase), when performed in inner cities of the developed world, are filmed and decoded by grid programs. The fact that security and risk prevention now represent “political superglue” prompted Michael Palm to reflect on the implications of the growing mechanization of perception, in both the public space and the field of medicine. The method Palm chose for his film "Low Definition Control" is repeatedly expanding upon a theory in fragments by means of unreal, grainy images of everyday scenes.