Bernd Upnmoor

A landscape is filmed with a single-frame camera 48 hours from a point of view.

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Bernd Upnmoor's Dom the title refers to the famous funfair at Hamburg - varies an increasingly meaningless shot of a few minutes on a carousel by exploring all the possibilities of colour film techniques and succeeds (in Upnmoor's words) in "making the viewers' senses tremble and flutter."

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A film director's personal ad, seeking a woman who is also a filmmaker.

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This film subtly contrasts banal reality with parody, using technical film techniques like time lapse and color filtering to parallel a home theater screening with a seduction scene. The director skillfully stimulates the viewer’s erotic imagination in a delicate and ironic manner, while also incorporating amateur film flaws dramaturgically and adding a socially critical, satirical element.

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Short film that might or might not be about murder.

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Sunsets instead of TV.

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In conversations with his friends and colleagues, among them Bernd Upnmoor, Helmut Herbst, Alexander Kluge, Klaus Wyborny, Daniel Kothenschulte and Helge Schneider, Ulrike Pfeiffer takes us on a journey into the broad expanse of Nekes' cabinet of wonder and his cinematic works. At the same time, this documentary provides an insight into the history of experimental film in Germany.

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A documentary about the 'critical mass', the Film Coop, a group of young filmmakers in Hamburg during the 1960s - a small group far from the Mainstream or the New German Cinema.

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Hurrycan has nothing to do with whirlwinds, although in this Nekes film the pictures journey across the screen, excitedly, spasmodically and flickering. The title weds the element of haste with the notion of a film can, which in this case turns out to be something of a Pandora's Box and contains expectations for a new way of seeing. A computerized shutter system that Nekes had built.

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An experimental film about the interpenetration of various levels of communication, dealing with the relationship of the pictorial functions to those of sound (direct sound).

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This film subtly contrasts banal reality with parody, using technical film techniques like time lapse and color filtering to parallel a home theater screening with a seduction scene. The director skillfully stimulates the viewer’s erotic imagination in a delicate and ironic manner, while also incorporating amateur film flaws dramaturgically and adding a socially critical, satirical element.

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An exhilarating and amusing encyclopedic look at the "prehistory" of cinema. Werner Nekes charts the fascination with moving pictures which led to the birth of film, covering shadow plays, peep shows, flip books, flicks, magic lanterns, lithopanes, panoramic, scrolls, colorful forms of early animation, and numerous other historical artiffices. Working with these formats, early "producers" created melodramas, comedies, -- as well as lots of pornography -- anticipating most of the forms known today. Nekes probes these colorful toys and inventions in a rich and rewarding optical experience. Film Before Film is a bewildering assault of exotic (and sometimes erotic) images and illusions.

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Jurgen is an unknown electrician with a dream of pop stardom. His mother browbeats him into fame, while two managers compete for his contract. All Johnny really wants to do is get some sleep.

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A landscape is filmed with a single-frame camera 48 hours from a point of view.

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Director Werner Nekes has created this experimental film in the mode of James Joyce's Ulysses to the extent that human interactions are represented by poetic, symbolic images and language, with a certain amount of nudity added in.

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In this sequel to Die Bettwurst, Dietmar and Luzi are a somewhat unorthodox couple, who live and fight with tremendous enthusiasm. The unusual nature of their liaison is signalled by the fact that Dietmar is bisexual and is completely unable to remain faithful to Luzi. Dietmar also has his own, personal dialect of German. Luzi, on the other hand, is coziness personified. No matter, in this film they get married at the Memorial Church in Berlin. Infuriated at his playing around, Luzi briefly splits up with him, but when her dog dies of poisoning, he is there to comfort her.

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