Otto Muehl Kardinal Perinetkeller Wien Frühjahr 1967 http://www.ubu.com/film/muehl.html Kamera Helmut Kronberger Otto Muehl (born June 16, 1925, at Grodnau, Burgenland, Austria) is an Austrian artist. He started painting in his youth and in the 60s was one of the co-founders, and an important member, of Wiener Aktionismus or Viennese Actionism. In 1972 he founded the famous commune Friedrichshof that flourished for several years before falling apart in the 1990s. Muehl himself was sentenced to 7 years imprisonment for having sexual relationships with teenagers. He was released after 7 years and set up a smaller commune in Portugal. In 1943, Otto Muehl served in the German Army and in 1944 he was sent to the Front. After the war, he studied teaching German and History, and Pedagogy of Art at the Wiener Akademie der bildenden Künste. In the sixties his aim was 'to overcome painting on canvas through staging the process of its destruction'. He made rhizomatic structures with scrap iron ("Gerümpelplastiken"), but soon proceeded to the "Aktion" in the vein of the New York Happenings. In 1962, when he was 37, the first "Aktion" "Die Blutorgel" was performed in Muehl's atelier in the Perinetgasse by Muehl himself, Adolf Frohner and Hermann Nitsch. The "Fest des psycho-physischen Naturalismus" and "Versumpfung einer Venus" followed in 1963. From 1964 to 1966 many "Malaktionen" were filmed by Kurt Kren and photographed by Ludwig Hoffenreich. In 1966 a new concept of Aktion was developed with Günter Brus: instead of the canvas, the body became the scene of action. In 1968, Muehl, Brus and Oswald Wiener organised an Aktionsveranstaltung "Kunst und Revolution" in the University of Vienna, which caused a scandal in the press; they were arrested and Brus emigrated to Berlin. Gradually, Muehl began to distance himself from "Aktion". He regarded the "happening as a bourgeois artform, mere art". The "transition from art to life" resulted in the founding of the commune as a kind of anti-society. Inspired by Wilhelm Reich, all members submitted to the so-called Aktionsanalyse. The declared aim was the destruction of bourgeois marriage and private property, free love, and collective education of the children. In 1974 he played a small role as a member of an anarchic/therapy commune in Dusan Makavejev's Sweet Movie. In the eighties, tensions within the commune increased until they culminated in a revolt under the direction of Altenberg. When, on top of that, Muehl was arrested and imprisoned in 1991, the commune fell apart. In 1997 Muehl moved to Faro, Portugal to start a new commune experiment. Despite suffering from Parkinsons disease, Muehl continued his art work, and in 2002 developed "electric painting films", a new technique in which he paints digital photos from actions using a computer tablet and pen and edits the process into films. http://en.wikipedia.org/wiki/Otto_Muehl

当一个名叫厄尼的胆小鬼，他的妹妹茱莉亚，和他最好的朋友麦克斯在麦克斯的发明者父亲的工作室里闲逛时，他们不小心把一台时间机器开动了，发现自己在6500万年前被带回了过去，在那里，他们遇到了一只名叫泰拉的霸王龙和她暴躁的恐龙儿子道奇。尽管泰拉邪恶的恐龙竞争对手密谋反对他们，但这群不太可能的人发现自己在探索茂密的史前丛林时进行了一次惊人的冒险——而在今天，麦克斯的父亲和厄尼以及朱莉娅过度保护的母亲密谋营救他们。

Focusing on life, death and karma, this dark comedy follows three parallel tracks - a man who discovers that he is a terminally ill, a woman seeking redemption and two goons with major trust issues.

一位曾被关押在集中营的囚犯留下的遗书，促使两个来自不同世界的年轻人当面对质，这不仅改变了他们的人生轨迹，还揭开了各自家庭背后的悲惨历史。

一匹名叫卡迪松的毛驴的冒险故事，改编自法国女作家塞居尔伯爵夫人的儿童小说《一头驴子的回忆录》

塞琳娜·昆塔尼利亚——被誉为“德克萨斯音乐女王”——以及她的家庭乐队“塞琳娜与洛斯·迪诺斯”，从在十五岁成人礼上表演起步，最终发展到举办座无虚席的体育馆巡回演唱会。通过家庭私人档案中从未曝光的画面，记录了她一生的传奇和留下的遗产。伊莎贝尔·卡斯特罗带着对塞琳娜·昆塔尼利亚的深情致敬重返圣丹斯电影节（继2022年的《米哈》之后）。她巧妙地捕捉到了这位歌手的热情、谦逊以及她与家人之间深厚的情感纽带。与她亲近之人的访谈揭示了她成名背后的付出与牺牲，而怀旧的家庭录像则将我们带回20世纪90年代，提供了前所未见的巡演生活片段。这些家庭录像的温暖仿佛让我们与昆塔尼利亚一家坐在一起，亲身重温他们的旅程。卡斯特罗展示了塞琳娜的个人魅力和对表演的热爱，同时也为她的家人提供了空间，让他们能够庆祝自己的女儿、姐妹和妻子。无论是塞琳娜的忠实粉丝，还是刚刚开始了解她的人，卡斯特罗都提供了一个全新的视角来体验塞琳娜的遗产，并让人们忍不住想要高唱《像朵花》。

这部壮观的史诗系列剧聚焦于黄金二十年代的两个结晶：首都沉沦于贫困、暴力和混乱之中，而城西百货商场则是奢华和美丽的绿洲。从第一次世界大战归来后，哈里·詹多夫以血腥手段的制止了百货公司劫匪的武装袭击。他的父亲阿道夫·詹多夫，靠着商业上的谨慎和可靠的会计师格尔戈的支持经营着这家濒临破产的 传统企业，这位受到创伤的小老板将他的冒险精神带到了企业的最前沿。而对于哈里的妹妹弗里来说，上层社会并没有在管理层中为其提供一个位置的家庭传统。同时弗里与百货公司的女售货员渐生情愫，开启了一段禁忌之恋~微博@亿万同人字幕分享

What Balzac brings out admirably is that, in love, we act and are acted upon. Youcheat, you lie, you put a pawn forward, only to pretend to withdraw it. Most of all, however, you are acted upon. The feeling of love grows within us without us realising it. It won’t let us go, until at last it comes to the surface with a clarity that fills us with joy and fear at once. That is exactly what happens to our two heroes: Princess Diane de Cadignan, the last grande dame of the Ancien Régime, but also the first modern woman in her own way, and Daniel d’Arthez, a great Catholic and monarchist writer. (Arielle Dom basle)

Catalogue Lumière no. 255 Filmé par Alexandre Promio