A. Hans Scheirl

In the year 2700, a comic book artist encounters a mysterious alien while seeking revenge against the pyromaniac who burned down her printing presses.

Lunatics in the subway Take a break at the diner Goggles seen from near Astrid is very seductive and reprimands the child Favorite family-shots sneaking in Make a move upside down Toilette and confusion in orange light Marching on the meadow and the simultaneous fall in the counter-post Astrid cannot hold back the laughter Yeah Yeah Yeah Yeah Yeah (Scheirl)

Bodies and fluids, bodily fluids and fluid bodies.

Dust, a split-personality cyborg of fluid gender, zooms through time and space in search of their own memories and a sense of understanding. They travel from the Planet of White Dust where war is constant, to the Planet of Blood and Swelling, a hybrid of their father’s body.

The plant is padded and bounces, the heart is padded and drops. Objects fill the lead roles: swaying plants with succulent leaves; and vases, tall and lean like the torsos of young women. Metal and plastic foil, leather straps and piles of flour, enigmatic symbols and garishimages, all accompanied by shrill music and a tumult of voices, mechanical clattering, angry snorting and the cracking of a whip.

This intimate look into the real world of drag kings -- women exploring their masculinity -- crosses continents, traveling through drag king nightclubs from New York to London.

Pürrer and Scheirl as naughty Easter bunnies create their own visual rhyme on Easter: Catholic excess and Christ kitsch become drowned out by undulating sounds and shimmering foil. Jesus pin-up and corpse of Christ reenactment included.

The film is a garden full of flowers and plant leaves. They’re placed in the mouth and down inside the dress neckline; they’re danced with and set in motion. They become overlong toenails or breasts that are gently caressed or maliciously squeezed. All of this goes on accompanied by both classical music and punk. In the end, they wilt.

These shorts, executed between 1984 and 1986 in Vienna, exude an amazingly fresh intimacy and vitality. Referred to by the filmmakers as »home movies«, they record actionistic performances in the directors’ own living quarters, with added soundtracks of intermittent percussive sounds.

Between the “red cuts” are dynamic images of Pürrer and Scheirl, some filmed from a screen, often against a red background or completely in red. You can see Pürrer lustful, rolling her eyes back, and throwing combative glances. On the hectic soundtrack you hear screams, sounds of fighting, things breaking.

These shorts, executed between 1984 and 1986 in Vienna, exude an amazingly fresh intimacy and vitality. Referred to by the filmmakers as "home movies", they record actionistic performances in the directors' own living quarters, with added soundtracks of intermittent percussive sounds.

Whimsical and thought-provoking, this is the story of five friends, each on a unique gender adventure, and one of their long-lost ancestors, a medieval saint.

Two bed frames pushed together are traced from bottom to top by the camera and pass over to Scheirl in a suit, panning over her. This is followed by repeated vertical pans up high-rise buildings. In between is Pürrer with a fixed gaze and extravagant jewelry. The music is by the anarcho-punk band Crass.

Scheirl’s body, with brightly painted genitals and harshly lit face, is portrayed in fragments by the camera; Pürrer is also naked. Scheirl is then shown wearing a pink dress with a floral pattern. She lifts it up and pees while standing, before climbing into a tub next to a laughing Pürrer.

A filmic homage to Gertrude Stein's "Tender Buttons": Everyday objects and especially house plants are imbued with cubist dimensions – everything moves, everything is alive. Lesbian fellowship swims like fish in the water to a shore of ruins – this city can only be "ash". (Andrea B. Braidt)

Two nude, female-presenting figures perform a minimal waltz to Strauss’s “The Blue Danube” on a stage resembling a variety show set. Their repetitive movements are simple: arm to hip, slight hip swing, step forward and back. Behind them, a painted black canvas shows two blue clouds and a central vase with an abstract bouquet, tied with red-white-red barrier tape—evoking the Austrian flag. A painter’s table with a sponge juts into the frame. The setting and music, full of ironic national and artistic references, create an ambiguous, imperfect tableau. Directed by Ashley Hans Scheirl and Ursula Pürrer, the film is a remake.

A possible staging of spaces; artificial places, in which the laws—of physical, social or cultural origins—are expanded, changed, ignored, perverted or transformed.

Games with muscles, games with power, SM games. The naked body employed as a prop. Perceptions of one's own body are the focus of Body-building, and it leaves the good-girl role far behind, sometimes in striking poses, sometimes in martial dress.

These shorts, executed between 1984 and 1986 in Vienna, exude an amazingly fresh intimacy and vitality. Referred to by the filmmakers as "home movies", they record actionistic performances in the directors' own living quarters, with added soundtracks of intermittent percussive sounds.

Test images Amusement park, searchlight, precise displacements THE ROLLING FIELD: simulation of the open-air cinema, flying object on the runway Projection onto concrete objects, "disturbed colors" Construction site H-Gate: The H-PROFILE and THE U-PROFILE Maximum permissible total load: "Projection table on meadow, flying piece of grass, switching point pool" Short, dynamic partial films. The DRAWING SHEET is the zero level. Similar to the structure of computer software, the programs = partial films are announced in menu panels. The display lights up. The menu image, which is synthetically pulled out of the screen, reveals the scene that has already begun behind it.