
Philip Widmann
2021Ein Haus in Ninh Hoa
Philip Widmann
The old paternal house of the Le family, set in a rural scenery at the fringes of the small town of Ninh Hoa, close to the southern coast of Vietnam: A household dominated by women, neither rich nor poor, with chicken behind the kitchen and rice paddies bordering the plot. Through the everyday life of the inhabitants of the house, the constellation of the extended family becomes visible. A constellation that is fundamentally marked by the course that history took in the second half of the 20th century, and that has made Germany a substantial reference point in the life of the Le family.
A House in Ninh Hoa
Die Frau des Fotografen
Karsten Krause, Philip Widmann
Gerti Gerbert
Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts’ picture archive, interviews with Gerti, and Eugen’s notes, the film looks at what remains of life and love at the end.
The Photographer's Wife
Szenario
Karsten Krause, Philip Widmann
Odine Johne, Kenneth Huber
The contents of a black briefcase lead us into a superficially well-ordered life in West Germany in 1970, in a city that can be seen as representative of the entire country. In this briefcase: the meticulous documentation of an affair between the small business owner Hans and his secretary Monika.
Scenario
Das Gestell
Philip Widmann
A Japanese philosopher writes a letter to a famous German colleague. He asks the German to advise the Japanese people how to deal with the permeation of modern life by technology. More than 50 years later, the same issues are being discussed among academics and aspiring engineers. It is hard to grasp how humans and technology continue to coexist. Resorting to biographical trivia, mythological histories and the recounting of dreams is not helping them to see these issues any clearer. In the grainy images of the film, landscapes from an uncertain time appear, occasionally flooded by water and a cacophony of brass players. The uncontrollable finds its ways into a world that tries to minimise risks and thus creates new dangers.
Das Gestell