EXECUTION – A STUDY OF MARY

FRG 1979 | Director, Script, Camera: Elfi Mikesch | Cast: Magdalena Montezuma, La Milli, Berrit von Bohlen | Voices: Heinz Emigholz, Cynthia Beatt, Ellen Umlauf | Production: Oh Muvie Film | b/w | DCP | german OV | 28 min | Stiftung Deutsche Kinemathek

The drama of a woman who attempted a kind of liberal emancipation in a time of upheaval but got caught in the snares of men. A study of Mary Stuart. The contradictoriness and the variety of material with which the person of Mary was surrounded over time gave me the idea of trivialising this "royal story". I compressed the information into images of passion, power, love, pain and death. EXECUTION is a photographic film of single images which alludes to the ambivalence of the two complementary media of film and photography. (Elfi Mikesch, n.d.)

© Deutsche Kinemathek – Museum für Film und Fernsehen
×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India
DAS FRÜHSTÜCK DER HYÄNE

BRD 1982 | Director, Script, Camera, Editor: Elfi Mikesch | Cast: Sheila McLaughlin, Gary Schneider, Thelma Abascal, Heinz Emigholz | Sound: Anke-Rixa Hansen | Production: Oh Muvie Film | 20 min | DCP | b/w | german OV | Stiftung Deutsche Kinemathek

She begins a journey through the night.
An empty compartment.
She closes the window. The train leaves.
She carefully places her wristwatch on the folding table.
Her suitcase is still on the opposite seat.
She begins to read a letter.
When a stranger enters the compartment and takes a seat,
the traveller's memories
of previous encounters with a man
and the image of the stranger in the compartment
combine into fantasies of pleasurable pain
that has long since become reality.
A habit.
Encounters without contact,
full of cruelty and danger in the pleasure of lingering.
The blue distance between two people.
Or the blue distance to oneself.
(Production notes, catalogue 13. internationales forum des jungen films, 1983)

Source: elfi-mikesch.com
×
Acronyms
amer. American English
b/w Black and white
OV Original version
SUB Subtitles
+SUB electronic live subtitling (below the image)
INT Intertitles
Countries
AT Austria
FRG Federal Republic of Germany (historic)
BLR Belarus
DE Germany
CAN Canada
GDR German Democratic Republic (historic)
EGY Egypt
FR France
GB Great Britain
URY Uruguay
BRA Brasil
SWE Sweden
UKR Ukraine
PL Poland
IDN Indonesia
PRT Portugal
HRV Croatia
ECU Ecuador
HUN Hungary
AUS Australia
IT Italy
MEX Mexico
IND India

Followed by a discussion between Elfi Mikesch, Julia Wallmüller (film restorer, Deutsche Kinemathek) and Heide Schlüpmann

Elfi Mikesch

Born in Austria, has lived in Berlin since 1964. Documentary and feature films, director, cinematographer, photographer, Oh Muvie Foto-Film-Produktion. Premieres Berlinale and international festivals. Director of photography for Monika Treut, Werner Schroeter, Rosa von Praunheim. Awards for directing and cinematography. Teaching assignments at the German Film and Television Academy Berlin and UDK, University of the Arts Berlin and Hamburg. Retrospectives. The analog work was restored by the Deutsche Kinemathek.

Member of the Akademie der Künste Berlin since 1991. For his life's work 2014 Special Prize Award for Artistic Achievement. Exhibitions and 2018 exhibition Waste Products of Love at the Akademie der Künste, Elfi Mikesch, Rosa von Praunheim and Werner Schroeter - Scholarship Villa Aurora, LA.

Current: WAR OR PEACE (documentary film, 2023), Il Cinema Ritrovato Bologna 2023 and Film Festival in Strasbourg.

Julia Wallmüller

Julia Wallmüller is a film restorer at the Deutsche Kinemathek and heads the team of restorers within the Digitization of national film heritage project. Before joining the Deutsche Kinemathek in 2010, she worked independently on numerous practical, theoretical and academic projects and as a lecturer in the field of digital film restoration. Her particular focus has always been on dealing with ethical and aesthetic issues in restoration.

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