Christian Giesser

On the basis of the hardy perennial "boss-assistant" relation, "The Mortal Fortune" depicts the passion of worldly existence. The anonymous hero of the story, to which the spectator is introduced, attempts at freeing himself from his enslaved life. He finally has to realize the transience of the creature man and whithdraws from the constraints of worldly existence.

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Again and again the lonely Mikki wanders through the night to recognize himself for a few moments. He finds light and courage again through the encounter with the toilet attendant Veronika.

The camera sweeps over concrete containers and rusty pipes, drinking fountains and water tanks. It shows water as an element which is lovingly cared for, has been made useful and, in the final analysis, which bonds.

Daily routine in an empty restaurant car on a long-distance train. Deserted tables, a slow-moving staff. The waiter leans at the window, unhurriedly cleaning his fingernails. The cook and the waitress bide their time patiently. Gestures of waiting. Communication no longer seems necessary, as the well-coordinated routine functions smoothly without it. Only the train´s clattering on the rails is audible - an monotonous and soothing sound. This monotony is echoed in the forced lethargy of the restaurant-car staff. It seems to be a ghost train, a train without passengers. Then the tableau comes alive as if wakened by an inaudible signal. The three figures begin to sweep and wipe: The car must be cleaned thoroughly before it reaches the terminus.

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Three men, three cars and three obsessions: automatic is a rhythmical and pulsating tribute to the garage and the engine, but most of all to the car as a fetish. The hot Latin beats fill the garage with music.

Hotel guests look restrained, sedated in the diffuse light of the service provider’s shimmering cage. A network of joists, pilasters and fluting exposes the proverbial off-season chill in the seating arrangements. Smart-phones and tablets mask a total lack of communication.