2013/14 season

Rediscovered treasures in the cinema

In cooperation with the Community Cinema, this season’s theme of Rediscovered treasures has inspired a reflection on compilation films, found footage, and objets trouvés – found objects linked to a surrealistic world view – and remakes. A brief digression via the brilliantly crafted compilation film Dead Men Don’t Wear Plaid leads on to various examples of the “film noir” genre.
Screening dates will be announced in good time. In cooperation with the Community Cinema, all films will be screened at the Forum Filmstudio.

Compilation films

Night and Fog
This category describes previously released or archive film footage that has been edited, cut or re-edited. The Russians Esfir Schub and Dziga Wertow were leading exponents of the compilation film in the 1920s. Other filmmakers later adopted this cinematic form as a way of making propaganda films socially acceptable. In his 1955 film Night and Fog, which documents the derelict death camps at Auschwitz, Alain Resnais combines colour and black and white footage contrapuntally. Pier Paolo Pasolini’s 1963 film Rage deals with communism and anti-communism.
Night and Fog
France 1955 | Director: Alain Resnais
Mein Kampf
Sweden 1959 | Director: Erwin Leiser
Italy 1963 | Director: Pier Paolo Pasolini
Ordinary Fascism
Soviet Union 1965 | Director: Michail Romm
The Atomic Café
USA 1982 | Directors: Jayne Loader, Kevin Rafferty, Pierce Rafferty
Netherlands 2008 | Director: Geert Wilders

Found footage films

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The Blair Witch Projectzoom in
The Blair Witch Project
A new type of filmmaking emerged in Hollywood at the end of the 1990s in the form of found footage films. Their principal feature is that they claim to present authentic, discovered film material generally shot under adverse circumstances. The first such film to make a major impact was the 1999 horror movie The Blair Witch Project, which tells the story of three young filmmaking students who venture into and become hopelessly lost in the Maryland woods. Shot simply using hand-held video cameras, films of this type have become hugely popular with cinema audiences. They usually feature an uncomplicated plot and have an immediacy that makes them extremely realistic, allowing the audience to identify readily with the characters. In addition, it is never made entirely clear to the viewer whether the action is in fact real or merely staged. Thus each of these films is distinctive and inimitable – that is what gives them their unique appeal.
The Blair Witch Project
USA 1998 | Directors: Daniel Myrick, Eduardo Sánchez
Apollo 18
USA 2011 | Director: Gonzalo López-Gallego
USA 2008 | Director: Matt Reeves

Objets trouvés

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That Obscure Object of Desire
The French term “objet trouvé” means “found object”. It describes a work of art, or part of a work of art, created from existing everyday objects or even from rubbish. Such works are known as ready-mades if the artist simply presents the found object as it is, with little or no alteration. Marcel Duchamp and Man Ray were the leading exponents of this genre, which declared everyday objects to be art. This approach was inspired by the Surrealists, who had begun to focus their attention on the mundane things in life. In collaboration with Salvador Dalí, Luis Buñuel made Un Chien Andalou (An Andalusian Dog), the first acknowledged Surrealist film, in which he dispenses with any form of linear narrative in order to unsettle and shock the bourgeois audience. He followed this up in 1930 with L’Age d’Or (The Golden Age), which widened the concept to include features of fetishism. The film sparked violent protests when it was premiered, and was subsequently banned. It also marked the end of Buñuel’s Surrealist period, although he did introduce surrealistic elements into later films, such as The Milky Way (1969), The Discrete Charm of the Bourgeoisie (1972) and That Obscure Object of Desire (1977), in order to reduce the linear narrative form to absurdity. Jean Cocteau’s 1930 film Le Sang d'un Poète (The Blood of a Poet) is characterised by a dream-like atmosphere and powerful Surrealist symbols, as are Alain Resnais’s Last Year in Marienbad (1961) and Alain Robbe-Grillet’s The Man Who Lies (1968). The influence of Surrealism is still evident in the work of many contemporary filmmakers. Examples include David Lynch’s Eraserhead (1977), David Cronenberg’s Naked Lunch (1991), Terry Gilliam’s Fear and Loathing in Las Vegas (1998), Paul Thomas Anderson’s Magnolia (1999) and Gaspar Noé’s Enter the Void (2009).
Un Chien Andalou (An Andalusian Dog)
France 1928 | Director: Luis Buñuel
The Golden Age
France 1930 | Director: Luis Buñuel
The Milky Way
France 1969 | Director: Luis Buñuel
The Discrete Charm of the Bourgeoisie
France 1972 | Director: Luis Buñuel
That Obscure Object of Desire
France 1977 | Director: Luis Buñuel
Naked Lunch
Canada 1991 | Director: David Cronenberg
Fear and Loathing in Las Vegas
USA 1998 | Director: Terry Gilliam
Enter the Void
France 2009 | Director: Gaspar Noé


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Der Himmel über Berlin
A remake is a new version, or a new adaptation, of an existing motion picture. An accurate classification of the individual films in this genre is, however, relatively incoherent. Most remakes today are filmed in Hollywood. European films are often remade in an American version, because American cinema audiences are extremely reluctant to accept dubbing or subtitles. Wim Wenders’s Der Himmel über Berlin (Wings of Desire), for example, was remade as City of Angels.
Der Himmel über Berlin
Germany 1987 | Director: Wim Wenders
City of Angels
USA 1998 | Director: Brad Silberling

LOL (Laughing Out Loud)

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LOL: Laughing Out Loud
USA 2012 | Director: Lisa Azuelos
The Tourist
USA/France 2010 | Director: Florian Henckel von Donnersmarck


In Dead Men Don’t Wear Plaid, Carl Reiner takes original scenes from old films and intercuts them with new footage. Consequently the film had to be shot in black-and-white throughout. Searching for Sugarman tells the amazing true story of the American musician Sixto Rodrigues, whose albums became phenomenally successful in South Africa. It shows how a journalist tracks him down and reveals the secret of this musical genius, who can unquestionably be ranked alongside Bob Dylan and other greats.
Dead Men Don’t Wear Plaid
USA 1982 | Director: Carl Reiner
Searching for Sugarman
Sweden 2012 | Director: Malik Bendjelloul
Ute Mader
Community Cinema at VHS Leverkusen Forum
Am Büchelter Hof 9
51373 Leverkusen, Germany
Phone: + 49 214-4064184 

All screenings will generally be preceded by an introduction from film critic Lutz Gräfe.