Michael Brynntrup

Lothar Schramm is a simple man with complex problems, yet he seems like such a nice guy. He works as a taxi driver and lives by himself where he is happy to answer his door to strangers and kill them outright. As with many shy loner types he has a problem dealing with women so he drugs them and photographs their nude bodies for sexual stimulation. He then murders his helpless victims and so goes the life of a deranged serial killer.

Immanuel Kant Hospital in Neukölln, Berlin. Midnight. A patient is being admitted. TV journalists are on the spot. The beginning of a story that tells itself. - And a self-portrait in broadcast and artistic media.

The desolate stretch of land on an overgrown graveyard: on June 17th, 1983 a main character crosses the dead no-man's land, - an incident. Ten years later: on October 3rd, 1993, - an inspection.

A short film by the German experimental filmmaker Michael Brynntrup from 1993. The film describes a surrealistic and absurd cycle of activities in a hermetically sealed cemetery from which the actors cannot break out.

The joint high mess of 80s German underground: An exercise in exquisite corps (and in some cases probably also automatic writing) for which artists from both nations shot episodes from the Good Book - not necessarily following the text too closely.

The city, the traffic jam, and the trashcan, - a post-painterly music clip.

My apartment has a nice lay-out. There are a lot of paintings on the walls. I have a big carpet, too.

My first video take, - a film, that rhymes between the lines.

Photographer Jürgen Baldiga (1959-1993) and filmmaker Michael Brynntrup, - privat discourses and personal investigations of how to deal with images of life and death.

Lesbian filmmakers from Berlin were asked to make a short film about their idea of male gay love and sexuality and, vice versa, gay men were given the task of making a short film about lesbian sexuality and eroticism.

As said. - A film like its title.

"Death mask: facial imprint of the deceased in soft plaster or wax."

Captures the violence and tenderness, alongside the dominance and submission, that is found in a single, intimate embrace.

My day in the yearly film.

About which one cannot speak, one must make films. (loosely based on Ludwig Wittgenstein)

The original is in motion. The identity is being denied. On the very first take I wanted to pose naked in front of the camera. But I guess I didn't have the guts. - By the way, I took that shot by self-timer.

WALK / DON'T WALK / WALK. The rhythm of the nineties. A tribute to the vital New York drag scene and the "electronic" 90's that is also a remembrance of the Christopher Street queer revolt 30 years ago.

This film is based upon true occurrences. Any resemblance to individuals, dead or alive, is not only intentional, but unavoidable. - Excerpts from my Diary and the relevant books of German law.

Rhythm in the age of its digital producability - an oscilloscope loosely based on Eadweard Muybridge.

The last remains of the deathstrip.