Dietmar Brehm

Blicklust (1992) 16mm, color, 18 min

Genre: Experimental

Keywords: Body, Erotic

Sometimes I ask myself what KIND of films I make + I think they are horror films. Do I make horror films? In 1991 I received a non-identifiable and worn out super-8 S/M Porno film, which shows a woman tied up in various manners + I couldn't resist. I knew that I had film material of surgery + I mixed the tied-up woman with the surgery material confrontationally + still a few more + and to 2/3 of a drawer of found footage until Blicklust-end. The "Pumping-screen" films THE MURDER MYSTERY + BLICKLUST are the first two of a planned six-part series which reflects on sexuality + violence. Basically, I show what I always see on TV, my favorite source. I like to watch TV without sound + with other manipulations. I watch restlessly the real + fake dead bodies. They are always there + I have simply gotten used to the fact that TV is a pump of corpses. In fact, I like better the filtered reality than the actual one. I prefer distance rather than closeness.

Rental: $36.00
16mm Rental: $36.00

Dietmar Brehm

Murder Mystery, The (1992) 16mm, color, 18 min

Genre: Experimental

Keywords: Psychology & Mental Health

A superlatively crafted film which uses the psychology of sight deprivation to keep the viewer in suspense: you are allowed only the merest glimpses of what is really going on. The cumulative effect as a mental picture starts to grow, is at once titillating and disturbing. Director Brehm knows exactly how to tempt our darkest desires.

Rental: $36.00
16mm Rental: $36.00

Dietmar Brehm

Echo-Echo (2004) 16mm, color, 6 min

Genre: Experimental

Echo-Echo is a recycled film which uses scenes left over from a few films I made over the past seven years. Echo-Echo's associative structure combines these imperfect scenes which now work.

Rental: $30.00
16mm Rental: $30.00

Dietmar Brehm

MIX-1 (32 Films 1989-1994) (1994) 16mm, color, 24 min

Genre: Experimental

The matrix of the Mix series is conceived with the express intention of facilitating the collection of various short films, whatever their nature. Between 1989 and 1994, besides producing short films and paintings, 32 very short films came into being. The individual films are quasi-documentary, structural constructs, found-footage material, self-filming sequences, home movie details, accidental, and short staged scenes. Many of the films were shorter than the introductory frames of a normal film, and there were 32 titles... The first version had the films cut together using a linear order with a black interframe structure and were numbered; but I saw that it wasn't right like that. I reduced the individual scenes to skeletons and made the mix. Mix-1 is permeated by numerous optical and acoustic axes in order to bind the 32 films together. I had to do more cutting and editing than ever before and the result is a psychedelicmix. The pictures have been removed from the speed range associated with normal perception, the sound is distorted. The latter proved, however, to be almost unnoticeable. (Dietmar Brehm)

16mm Rental: $128.00

Dietmar Brehm

MIX-2 (21 Scenes 1997) (1997) 16mm, color, 38 min

Genre: Experimental

21 scenes which at short intervals came into existence as if from their own accord in the spring of 1997 during various 16mm matrix investigations. In summer I formed them into the Mix-2 reel and added the sound in autumn. (Dietmar Brehm)

16mm Rental: $204.00

Dietmar Brehm

MIX-3 (2000) 16mm, color, 14 min

Genre: Experimental

In the years between 1983 and 1988, I used Super 8 film to shoot 54 short scenes which were then compiled in four series as Blickstuecke. When examining the material ten years later, I discovered that the soundtrack had been damaged; some of the scenes were quite good while others seemed to be lacking in concentration. In the summer of 1999, I decided to distill 27 scenes from the original 54-part compendium, altering te structure of some. During the editing phase, I dispensed with the numbering originally used to organize the scenes and combined the individual elements, which originally did not belong together, into a continuous, flowing whole.

16mm Rental: $75.00

Dietmar Brehm

MIX-4 (2000) 16mm, color, 21 min

Genre: Experimental

The Mix-4 matrix combines 24 short scenes portraying various planes of reality which were shit between the fall of 1996 and the summer of 1999.

16mm Rental: $112.00

Dietmar Brehm

Twisted Eyes (Verdrehte Augen), Second Version (2002) 16mm, b/w, 13 min

Genre: Experimental

A drama of gazes in which a woman's turned-up eyes express both her sexual superiority and her submission: She shows the contempt she feels for her impotent husband, who is unable to start the car, by twisting her eyes from the passenger seat. And with regard to their pursuers, who later attempt to force their way through both doors of the car where the couple has found refuge, keeping them in view by twisting her eyes is not possible at the moment she looks, the victor gains entry to the vehicle, which he had been confident of from the film's very beginning. His composed expression, full of both speculation and disdain as he languidly chews on a toothpick (which justifies the ironic tone of the subplot dealing with the preparation of meat), meets the woman's cool, passive gaze thanks to the indirectness of the cut alone. At the beginning of the film the woman sits in a rattan chair, the furniture of sexual liberation since Emmanuelle. The two men sit outside, attempting to penetrate the rooms occupied by the woman. Although Twisted Eyes has more of a narrative character than many other films by Dietmar Brehm, it is primarily structural. The close-up of the victorious man (the patient hunter) functions as a leitmotif which comments on a primitive type of sexual politics canonized in pornographic films: Women are at the mercy of two types of desire one powerless and the other overpowering. Brehm ends his film with an image taken from nature, similarly to its beginning with one from the food chain. (Bert Rebhandl) Translation: Steve Wilder

16mm Rental: $65.00

Dietmar Brehm

Central (Zentrale) (2002) 16mm, b/w, 9 min

Genre: Experimental

Astral bodies engaging in group sex: Dietmar Brehm's Zentrale is a meditation on the human body's outer limits and the material nature of the skin. The first image shows a naked light bulb, its rays barely able to illuminate a dark room. This is followed by a supine naked body stretched out like in Courbet's famous painting depicting the origin of the world. But the figure's genitals remain invisible, outside the visual fields exposed in Zentrale. Even if men and women busy themselves with each other, stimulating one another's anuses with sticks or penises with their mouths, this can only be suspected, or assumed. In Zentrale skin is given a pulsing white quality that makes it flow out of the darkness into which this film's world has been plunged. The more visible the figures become, the more comical their actions; they go at each other in a manner suggesting mollusk-like beings which are no longer equipped with sex organs, having become sex organs themselves. Sexuality is transformed into a symbiotic process opposed solely by the negativity of the blackness, which the bodies at times seem to cover before it dominates the scene again. The supine woman, who caresses her own breasts and then spreads her arms again, is one of those typical Brehm leitmotifs which behave paradoxically in light of the film's "story." The genital fixation, the central idea in all cum-shot staging, is altered to create a setting in which lust again coincides with reproduction on the level of the film material: The cell division typical of pornographic films can be observed in Zentrale. (Bert Rebhandl) Translation: Steve Wilder

16mm Rental: $36.00

Dietmar Brehm

Bolts of Lightning (Blitze) (1999/2000) 16mm, color, 8 min

Genre: Experimental

The Sixth Sense. If two letters in the original German title of Dietmar Brehm's new film were changed, it could be translated as Glances. The result would be coordinates of a mode of vision in which subject and object oscillate: A glance triggers flashes of lightening in the brain; synaptic activity during a dream replaces the glance. A man opens his eyes. He sees a cozy room with a burning fireplace; he sees an elderly person lying in the bed and then turning to ring for a servant; he sees a woman taking a shower, and a younger one in bed asleep. Suddenly, all order is reversed. It may be that the woman is merely dreaming of a voyeur; she may be entering REM sleep. She might be dreaming herself into an altered version of Psycho. The feeling of discomfort caused by Bolts of Lightening is made possible by the relevance Brehm adds to his found footage: He permits the telling of a story which is turned completely around and, as in a dream, the story is nothing more than a subsequent synthesis of images which appear suddenly; beauty and transience are not just subjects, they are also a quality of the film's images. (Bert Rebhandl)

16mm Rental: $32.00

Dietmar Brehm

Basis-pH (2004) 16mm, color, 11 min

Genre: Experimental

The found footage-actress I used for Organics (1999) is shown putting on make-up in Basis-pH, at the same time with war scenes in a countershot. This silent film ends with a nice explosion. (Dietmar Brehm)

16mm Rental: $30.00

Dietmar Brehm

Fit (2004) 16mm, color, 17 min

Genre: Experimental

The found footage in Fit, which I originally used for Echo (1976) and Mix-2 (1997), was taken from a 1960s Russian educational film presumably about so-called electrical body forces. I rearranged this material for Fit and shot it with 16mm reversal stock in such a way that the original film was given a pretty pale reddish tint. (Dietmar Brehm)

16mm Rental: $60.00

Dietmar Brehm

Party (1995) 16mm, b/w, 18 min

Genre: Experimental

Sometimes I film so that the actors seem to belong to the undead. The construction of the Found-Footage-Party shows Russian, Japanese, American and my own material which is hallucinated into a matrix in which functioning and non-functioning body parts appear as optical lubricant shadow labyrinth whilst simultaneously we hear someone shaving. (Dietmar Brehm)

16mm Rental: $72.00

Dietmar Brehm

Macumba (1995) 16mm, b/w, 18 min

Genre: Experimental

Sometimes the camera films of its own volition. Macumba shows an optical tangle in 13 scenes. As a start signal one hears a double hammer blow arising from a black screen, a sound like the nailing shut of a coffin. Macumba develops slowly out of the black. A black porno couple on the telephone in London. Then they meet on a snake in a park and are, together with Kalahari Bushmen mixed to a film matrix which is as incomprehensible as real life. Throughout Macumba the sound of rain can be heard. (Dietmar Brehm)

16mm Rental: $72.00

Dietmar Brehm

Korridor (1997) 16mm, b/w, 18 min

Genre: Experimental

At the end of 1996 in an old shop in Vienna specialising in film materials I found a tin with indeterminable pieces of 16mm film showing much wear and tear. They dated from the late 60s. After a cursory glance I thought 'yes'. The found footage material was ideal for the horror series. I prepared the film for compilation using mirror projection and filmed myself in detailed structures through the light axis. For the introductory sequence I chose the top of a poplar tree and a neo-gothic house. The lighting of the body scenes as filmed is very harsh, whereas I shot the poplar top and the neo-gothic house both over and under-exposed. Then I mixed associative tones throughout the corridor. The first version cut showed the bodies in a state which was too excited and then I began to structure the film with black frame sequences of varying lengths. The man who is lying in bed with the woman who appears dead was perfect for the start of the body scenes. I concentrated the lens on a very narrow view and allowed the horde of found-footage actors to react with each others. I wanted to construct a insidious / traumatic phenomenon in which the head and body glide through the picture again and again and are extinguished in the black frames. At the end a man whips a man and an actress is tied up. The top of the poplar tree appears under-to-over exposed while a hand glides through the picture twice.

16mm Rental: $72.00

Dietmar Brehm

Organics (1998-1999) 16mm, b/w, 18 min

Genre: Experimental

Since 1996, parallel to all the other paintings and film work I made hundreds of pictures each with the title "Organics", and each on the same size of paper - 61 x 43.5 cm. It is from this drawing phase that the film Organics (1998) developed. I already had the perfect found-footage lead whom I named "Hey Joe". Round "Hey Joe", who appears repeatedly as an observer, I constructed a matrix of body details which are broken up by a number of explosions. Organics begins with the observation of a Zorro mask and a distorted / veiled woman's face. A shot of Notre Dame Cathedral in Paris develops into a women's foot scene which leads to a longer kiss scene punctuated by an explosion, falling leaves, a tank, touching hands, a hand in a plaster cast, bunches of grass and a dark cellar door. After observation of a skeleton detail, the found footage actors become involved in slowly feeling each others body. A man swings a necklace back and forth like a pendulum, a head being bandaged, attempts at face make-up, details of operations... in a flickering, pumping screen light until, in the end, "Hey Joe" centres the picture briefly with his penis. After the hand movements which follow, the veiled face of a woman appears again, longer this time, to be observed by "Hey Joe" until the film floodlight is turned off. The Organics sound track is pared down to a few slow note combinations.

16mm Rental: $72.00

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