Potatoes have to be peeled, withered orchid blossoms must be plucked. Then everything is in order. In addition to demonstrating the unexpected complexities of individual life paths, THE WILD establishes the possibility of “cinematic space” becoming a type of “third space”. Two seemingly contrasting spaces merge to construct a new space. The first space is the living room of a retired couple. The second space is embodied in Super 8 recordings filmed by the old man during his numerous trips to Africa and Asia during the 60s, 70s, 80s and 90s. The pictures show exotic animals which are projected directly onto the walls and furniture of the house. The assembly of these differing spaces does not create a more succinct boundary between them, but rather assists in the mingling of the two spaces. In this fleeting moment of third space, as it is limited by time, a new cinematic reality is formed.
- Barbara Nüsse
- Peter Maertens
- Helena Wittmann
- Helena Wittmann
- HELENA WITTMANN
Our bodies are involved in this world and the world is involved in our bodies. They are instruments of insight; we sense, feel and experience. Perception precedes truth. I make films to take a deeper look, to listen, to experiment and to share this experience with an audience. In cinema, I have the possibility to create a concentrated space of perception that may lead to very individual paths of thought and cognition. It‘s a sensual matter.
Helena Wittmann graduated from the Hochschule für bildende Künste Hamburg (HFBK) in 2014. She has made several short films, including THE WILD (2013) and 21,3°C (2014), which were shown internationally in exhibitions and film festivals. Her debut feature DRIFT (2017) was selected in competition at Venice IFCW and screened at a number of festivals worldwide including IFF Rotterdam, FICUNAM and Festival du Nouveau Cinéma Montréal among others. She has been working as artistic research assistant at HFBK since 2015.