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GRINDHOUSE
Joshua Grannel San Francisco 2003
13‘39 EN
Grindhouse is a short version of a feature film that director Joshua Grannell is raising funds for. Best described as a dark comedy gore film, it was influenced by the films of Herschel Gordon Lewis and the late, great, directress Doris Wishman. Grindhouse is a modern tale about cult groups, snuff films, great works of literature, and a woman gone berserk with art, power, blood and guts.

VAMPIRA
Kevin Sean Michaels
USA 2006/7, 90min, EN
Genre/ Keywords: documentary
The Movie is a new, independently produced documentary about legendary horror hostess Vampira. It features new, exclusive interviews with Maila „Vampira“ Nurmi, Forrest J Ackerman, Sid Haig, Lloyd Kaufman, and many others from the world of horror.

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SHE
Veronica Mota

PRIVILEGE
Yvonne rainer
USA 1991, 90′, en
Genre/Keywords: Cultural theory, documentary, poetic drama, essay

A middle-age documentary filmmaker named Yvonne Washington (Novella Nelson) invites a long-time friend and former dancer, Jenny (Alice Spivak), ostensibly to film a candid and open dialogue on the subject of menopause. Privilege is an intelligently conceived, boldly anarchic, and wickedly insightful exposition on the culturally ingrained and socially divisive malaise of isms that artificially define and characterize empowerment in contemporary society: ageism, sexism, economic elitism, and racism.

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SPORTS BRA
RM Vaughan
Toronto 2005, 2min, EN
genre/ keywords: experimental installation
Exercise is failure in action. RM Vaughan and Shannon Cochrane try to be
fit, sporty, and active people, but bad wigs and poor coordination always
get in the way.

SCHWARZER KANAL
Cara Holmes
Berlin 2007, 15′ EN
Genre/ Keywords: documentary, squat, wagenplatz
A portrait of the queer wagenplatz Schwarzer Kanal in Berlin.

Ein Portrait des Queer-Wagenplatzes Schwarzer Kanal in Berlin.

TILT
Moving Knickers Collective
London 2008, 12′ EN
Tilt: to incline; to bend; to point; to fight; to charge
What happens when five women go out for a long walk in the provincial city of Newcastle wearing sex toys in their knickers? They tilt towards each other, with curiosity and trust, they create a space to lean into.
Tilt, a film about female masturbation and taking control of our sexual lives.

DASEIN
Feundinnen der Kunst
Linz 2007, 20′ DE
Genre/ Keywords: videoperformance, feminism

Ein Jahr lang haben wir uns mit dem Begriff DASEIN beschäftigt und immer wieder neue Facetten dazu entdeckt. Entstanden ist eine Video-Performance in der unterschiedliche Genres zur Anwendung kamen. Das Thema der Geburt aufgreifend, drehten wir die Rahmenhandlung in der leerstehenden, abbruchbereiten Landesfrauenklinik in Linz. Das Arbeiten am eigenen Dasein wurde versinnbildlicht durch handwerkliche Tätigkeiten, dargestellt in unterschiedlichen Arbeitsprozessen.
Die vier Episoden, die die Rahmenhandlung unterbrechen, thematisieren auf sehr persönliche Weise den Zugang der freundinnen der kunst zum Begriff DASEIN: „Laurentia, liebe Laurentia mein”, „Sonntags auf dem Acker“, „Eintag topfte die Welt oder Quillmädchen“, „Wenn wir erklimmen…“
www.freundinnenderkunst.at

WATCHING LESBIAN PORN
Dayna McLeod
Montreal 2002, 11′ EN
A pornographic parody, Watching Lesbian Porn situates feminism as a means of manipulation in the lesbian world of dating. Armed with a selection of feminist texts by Judith Butler, Luce Irigaray, Laura Mulvey, bell hooks, and Andrea Dworkin, McLeod describes how flexible these texts really are. Meanwhile in the background, Ginger Discovery and Lucky Chopps give an over-the-top performance that is charged with campy choreography and sexy slapstick.
www.daynarama.com

ANSCHEIN
Bettina Hohorst
Berlin, 5′ noSP

O‘DEATH
Zeynep Dagli
London 2007, 9min
A collaboration with Diamanda Galas

O’Death develops a sense of implicit intensity of the images; from the beginning of 15th century woodcuts to the recent bloodshed photography. The inescapable becomes the indigestible within the arrangement of the images. In this film the viewer is no longer implicated. Rather s/he is bound to draw herself/himself back hesitantly in silence. The unspeakable compels the viewer (and the witness) to the ultimate manifestation of death. The film gradually disturbs the viewer’s recognition of the work of Death as personified and animated in its form. By drawing upon the documented events and by borrowing from the histographical elements that held sway the attitude towards death significantly, the film attempts to identify with the effect and the impact that lie beneath the representation and appearances. In that sense, the sound which is performed and arranged by Diamanda Galas makes the viewer endure Death by not surrendering to its inexhaustible principle. While skeleton’s labour and the disturbing images diminish the power of thought Galas’ screams conceal the impurity of every emotion and strike back almost teasing Death. There are two elements and two approaches to the editing pace. One is the play and task of the skeleton that confronts the viewer almost in a humorous and satirical manner; the viewer is mocked by the hidden whispers of the skeleton and the gaze of Death. The other is the gruesome imagery of atrocities suddenly brake the sequences and force the audience to pull up their own chairs or scream out loud with Diamanda Galas. The viewer is most likely to empathise with Galas’ expression where she sings ‘oh death, please consider my age, please do not take me on this stage’ while ‘the I’ is confronted with the images of documented events from the history that of genocidal relics or the depressing-unforgettable image of Indiana lynching.

SCUM
Aykan Safoglu
Istanbul, noSP

NO WAY
Marie Vermeiren
Saarbrücken 2002, 22′ D/ENsub

Den sehr konkreten Hintergrund von häuslicher Gewalt hat die Aktion „Kommt nicht in die Tüte“, die von der Künstlerin Karin Heisecke im Rahmen des internationalen „Stop Rape“-Wettbewerbs 2001 realisiert wurde. Hier wurden Brötchentüten im Kampf gegen sexuelle Gewalt eingesetzt. Mit statistischen Zahlen zu Vergewaltigung in Deutschland und der Telefonnummer des lokalen Frauennotrufs bedruckt, verwandelten sich die Tüten – als Verpackung eines „alltäglichen“ Grundnahrungsmittels – in aktivistische Infoblätter und verknüpften unmittelbar Fragen der Ernährung mit dem Thema Vergewaltigung (in der Ehe).
Im Video von Marie Vermeiren werden KundInnen, Bäckereiverkäuferinnen/-inhaberinnen und VertreterInnen beteiligter Initiativen nach persönlichen Reaktionen, Beobachtungen und Erfahrungen mit der Tütenaktion befragt.

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A NIGHTMARE ON CASTRO STREET
Joshua Grannel
San Francisco 2002, 17’03, EN
Genre/ Keywords: horror, fiction
There’s a nightmare on Castro Street where gay no longer means ‚happy‘. Peaches Christ thought she was doing right by forcing her drunken gal pal Squeaky Blonde into rehab. When a sober Squeaky returns to Castro Street, old ghosts prove powerful and a terrifying relapse leads to a monstrous transformation.

DAWN OF THE DORKS
Eric Esser
Berlin 2006, 22′, DE/ ENsub
Genre/ Keywords: Polit-Horror-Trash-Satire

After eating rotten meat at a Barbeque-Party the guests mutate. Fanscarfs, Teamshirts, moustaches and beerbellies are growing out of them, and they start to chant nonstop soccer-songs. Anybody who gets in contact with them, becomes one of them. A small group can escape into a club house – the accidentally unioned people are as different as their ideas for a solution of the situation.

Nach dem Verzehr von Gammelfleisch mutieren die Besucher einer Semesterabschluss-Grillparty. Ihnen wachsen Fanschals, Fußballnational-trikots, Oberlippenbärte, Bierbäuche und sie grölen unaufhürlich Fußballlieder vor sich hin. Und wer mit ihnen in Kontakt kommt, wird einer von ihnen.
Eine kleine, durch Zufall zusammengeführte Gruppe, kann sich in ein Sportlerheim retten und sich dort vor der Horde herannahender Fußballfanzombies verschanzen. So unterschiedlich wie ihre Charaktere sind auch ihre Lösungsansätze.

SEASON OF THE TROLL
Joshua Grannel
San Francisco 2001, 15’52, EN
Mass ends and one angry little troll decides to take revenge. Season of the Troll chronicles the real life horror story that began when the movies ended.

JUNGES GLÜCK
9′

WHATEVER HAPPENED TO PEACHES CHRIST
Joshua Grannel
San Francisco 2004, 19’06, EN
The third and final chapter in Joshua Grannell’s tran-ilogy of terror, Whatever Happened to Peaches Christ finds a drunken Peaches desperately trying to hang on to a career in show biz while her sidekick and ex-friend Martiny’s rise in popularity eventually sends Ms. Christ over the edge. A horrible accident catapults us forty years into the future where we find the „women“ stuck in a roommate situation truly from hell. be warned…Fate is not Kind