| "Grottenolm" escribió aquí: |
It's tagged CiNEMAGROTESQUE so i guess it must have been posted on other forums, so forgive me if mine is not necessary.
ed2k:
Nihil oder Alle Zeit der Welt ( 1987 - Uli M. Schüppel - Blixa Bargeld).CiNEMAGROTESQUE.avi [702MB]
Nihil Oder Alle Zeit Der Welt / Nihil or all time of the world
16mm - BW - 1.33 - 1987 - West Germany
A film by Uli M. Schüppel
A Prodction of Schüppel Produktion and DFFB
Shot on location in West Beriln, Nordstrand and Heiligensee, Sept/Oct 1986 and March 1987
Updated few screenshots Nov 16
And quicktime clips from schueppel-films.deStorm/The Island Finale Kid's Dream Oliver's Death
Synopsis
Cult movie ‘Nihil oder Alle Zeit der Welt’ from 1987, featuring the members of Einstürzende Neubauten as actors. It’s a film about a group of young ‘Terrorists’ (Neubauten), fighting desperately against an obscure ‘professor’, that represent a personification of all things bad and ugly in today’s civilization.
-tarantullashop.com
This rarely seen and talked feature directed by a student of DFFB at that time, must be one of the most closed relationship between Einstürzende Neubauten, the non-music music myth, and fiction-film making. just unlike the description, only Blixa Bargerld had an one-armed Visionary role here. Instead of appearance, other Neubauten members only contributed a soundtrack, which has never been released as a recording.
Volksblatt Berlin also regarded this film as "Maurau goes Underground". Later in 1990, Schüppel made a concert film for Nick Cave, called The Road to God Knows Where, which might be his most well-known work.
here I also add some links, have fun.
Einstürzende Neubauten in Wiki
Press download
Info sheets (German with storyboard, photos)
Article in Filmfaust magazine (German with photos)
Director's film-diary (German)
also few English excerpts from the film-diary by Uli M Schueppel, Berlin Oct 1987, which was called
NIX BABYLON, ASSHOLE! - Chronicle of an expired film
Summer ’86
The idea for the script were created in a couple of nights. usually, l sat in the same corner at "Hansa-Studio". Band like "Einstuerzende Neubauten","Nick Cave & The Bad Seeds" and "Crime and the City Solution" were recording their albums after another. I only had to close my eyes and the projector was running, like weeds images grew emberantly (exuberantly) to the background of the sounds. I felt the mood, the quiet-intensive atmosphere the film was to carry with it. The parabel and the baladesque was created. The expressive strength and poetry of the picture was to be more important than the story and action.
No reality, no comtemporary was to be shown directy, but only to be seen in the presence of the actors faces. No cars, no people, no Berlin!
Still, WestBerlin was to be present throughout the film, and no other city. The feeling and the conception of the world shown could have only been created here, at the end of the 80s. Small groups develop everywhere, energies which move forward desperatly. Anywhere. An illusion of losers who become heros. No aim (which?) is relevant anymore. Only the movement..."
Sept.13th '86
One day before zero. Next NO time.
first and last rehearsal. or rather, we are recording the script together. In the background "Velvet Underground". There are images. Friedrich is emptying my fridge. A grey Saturday. The camera is yet unborn, we film with our bodies. We have to forget about the film of the last sixty years, eliminate, switch it off.
Gesine smiles - the impersonation of a tear moves through longing. HUGE. We don't think about film, this is cinema, magic, to create an inner experience, and Oliver nods.
Met Blixa at Ritterstrasse. The original concept of his part - a hommage of our common admiration for Artaud - is getting out of hand. We go through his script once more. Forgot the metal-hand. He probably hasn't had much sleep for a few days. "Just tell me, what do you find important about your script?" his notes are flowing over with sentences. No simulation here either. Blixa IS the one-armed prisoner. THE VISION.
Oct. 10th '86
Obentrautstrasse. At and with Kolie. The unvoluntary re-take, as the scene was almost completly destroyed, because of a tear in the negative film, which happened at the lab. The sentimentality of the "last day of shooting" Friedrich makes us quickly forget. After he had smashed a few glasses and bottles, after bananas were flying through the room and a pretty serious fight broke out between oliver and him - we quickly threw him out.
A while later, I took out of the window while lights are being changed and I see Friedrich attacking some turkish people who are leaving the nearby karate-sports center (!). Imemediately we ran outside, together with some musicians, who watched it all too. But friedrich is calready knealing in the street with a bloody nose and a black eye, surrounded by those turkish pqople. he is shouting :"I am an asylum-seeker, too! I am an asylum-seeker, too! "
If I can ask any German-speaking friend to transcribe the dialogue translation, I will make a .srt file and post here. But that's not easy.
Also, this film has been released along with a Nebauten Documentary called Seele Brennt (Soul Burns, aka Listen with Pain/Hör mit Schmerzen, Beetz, 2000). I really wish anybody can rip that docu too. As some die-hard fans say, the film might be the best Neubauten docu ever, even than the legendary Liebslieder (Love-songs, Maeck/Schenkel, 1993). It has eng subs itself.
