Ursula Pürrer

Recounts the tumultuous history of Cuba, a nation of foreign conquest, freedom fighters and Cold War political machinations.

Explores the Third Reich from a contemporary perspective to investigate how the Nazis managed to conquer Germany and then half of Europe in the wake of World War I.

Thoughts of a diversity of public and private citizens on the virtues of democracy, its faults, its decadence, its fall and the rise of populism.

Film journalist and critic Rüdiger Suchsland examines German cinema from 1933, when the Nazis came into power, until 1945, when the Third Reich collapsed. (A sequel to From Caligari to Hitler, 2015.)

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

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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)

Sabotage acts are committed on the film theaters of a city for no apparent reason. Two secretaries of "Mega Film", which has been damaged by a sabotage act, decide to try to find the saboteurs in order to determine what their motives are.

The Vatican opened once-secret records on Pope Pius XII on March 2020. This gave researchers a brand new insight into the Catholic Church during the Nazi era. What did the Pope know about the Holocaust?

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.

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.

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.

Bodies and fluids, bodily fluids and fluid bodies.

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.

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)

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.

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.

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.

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.