Christine Noll Brinckmann

Dress Rehearsal and Karola 2

Christine Noll Brinckmann

Karola Gramann

A tie or lace? After trying on numerous treasures from New York’s second-hand stores, and extravagant fashion accessories, Karola Gramann decides on a traditional dinner jacket with cummerbund and bow tie. We then see her posing & vogueing to Bryan Ferry’s “These Foolish Things”. These shorts are an early gender bend that evoke Kenneth Anger’s biker etude Scorpio Rising (1963) and even anticipate the Madonna phenomenon.

Stief

Christine Noll Brinckmann

STIEF is abstractly interested in the energy of color, using flowers and groups of arranged objects as pro-film material. The artifice of certain compositions of images is opposed to the botanical naturalism of other compositions, and makes the tension between the different compositional and photographic approaches becomes a new challenge. The film includes several chapters or stanzas that differ in their rhythms, dominant colors and emotions.

Die Urszene

Christine Noll Brinckmann

Bedrooms filmed in a Freudian way.

Ein halbes Leben

Christine Noll Brinckmann

"A HALF LIFE stands on the threshold between the genres of documentary and experimental film.The film attempts to distill the experience of many years to five minutes, taking stock of the bedroom of an elderly middle-class couple. As an expression of the relationship of this couple, its way of life becomes the room the symptom and symbol of a generation. Everything's in place, peaceful but largely frozen." (Christine Noll Brinckmann)

Empathie und panische Angst

Christine Noll Brinckmann

"The therapist's voice steps behind the pictures. All this takes place in a narrowly defined pictorial space, in a face, in a few square centimeters of a room wall, in the leaves of a plant, in holding the teacup. What miraculously blends together in this film: an empathic woman (the therapist), directed by an empathic woman (the director), tells an empathic cameraman about experiences with people in panic. The film is empathic and speaks at the same time of the disturbed relationship of the people to each other, to themselves and to the objects that surround them. What makes him even more exciting is the not clearly decipherable network of relationships between the three people involved in the film and the space that encloses them "(Dagmar Boarding)

Der Fater

Christine Noll Brinckmann

Collage of 30s original black and white films made by the filmmaker's father, and new color films. The intention of the film is to share through the eyes of the girl, the sequences shot by the father, which showed his patriarchal and colonialist point of view, his images of himself and his sexual fantasies. In this sense, it is a film about the problematic relationship, libidinous as well as critical, between a father and his daughter.

Grünspan

Christine Noll Brinckmann

"GRÜNSPAN is a film about female sexuality, but it does not develop a program, but tries to capture different, sometimes contradictory attitudes and feelings in their simultaneous existence. On the one hand through the objects in the picture - male statues, a woman approaching, on the other hand, through surface tension in the images, opposing textures, hardness ratios, convex and concave shapes, the color that keeps the film flowing, the objects related to each other, concentrates and loses, and the music is very important which comes from an old American musical and has a narrative dimension. " (Christine Noll Brinckmann)

The West Village Meat Market

Christine Noll Brinckmann

"THE WEST VILLAGE MEAT MARKET is an autodidactic debut film documenting a New York neighborhood, a meat market, which combines documentary and metaphorical overtones, as well as exploring certain aspects of the medium of film: in hand camerawork, motionless to moving objects or minimal movements, black and white material to color, flatness to depth effect.These formal contrasts emphasize textures and spatial conditions that are of particular importance for the area of ​​the meat market. " (Christine Noll Brinckmann)

Polstermöbel im Grünen

Christine Noll Brinckmann

"A film about the fascination of discarded, abandoned household items: it is more suitable than other things for colored compositions, because the picture borders may be as arbitrary as the accidental end position of the garbage. Moisture, natural light and leafy green make the fabrics glow, and the discarded and broken tend to be quiet abstractions, but at the same time they are disturbing because of the aura of domestic life" (Christine Noll Brinckmann)