Loretta Fahrenholz

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The Sixth Year is an art world drama series in five episodes, which re-interprets the format of the TV series. Set in the New York art world, it stages the backstage and theatricalizes the social interactions and power games, the aspirations, passions, and everyday realities of the field. The screenplay is based on interviews with artists, curators, gallerists, collectors, and art advisors, whose opinions, anecdotes, and gossip it abstracts and extrapolates into a fictional narrative.

Shot in the East New York section of Brooklyn around the time of Hurricane Sandy, Ditch Plains is a dystopian sci-fi street dance film featuring members of Ringmasters Crew.

Set in Munich's petty-bourgeois Westend, film documents life at home with former Fassbinder actor, Warhol collaborator, and horror movie director Ulli Lommel. Rather than a straight documentary portrait of this bohemian household, the camera prefers to follow the narrative impulses of the family members. Lost in serious play, the kids improvise hypnotic death scenes while their mother claims to come from a planet where everything is "ethereal and incorporeal." As parent-child relations are unscripted and re-scripted on the fly, the dilated time of a collective daydream is punctuated by the ordinary sounds of an electric toothbrush, vacuum cleaner, and piano.

Employs partly scripted and partly improvised actions, loose choreographies, musical scores, and acts of self-reflection that all coexist in a chaotic structure.

Sketch Artist is a haunted car ride. Kim Gordon drives as “UnterPool” summons passengers throughout nighttime LA. The city drifts by, passengers intermingle in the back seat, and Gordon’s deadly stare shocks pedestrians along her route.

IMPLOSION produces an HD image of the horror and anxiety of the now, allowing us to see ourselves freshly from the punk perspective of a vanished SM bohemia, and seeming to urge a betrayal of the present. Based on a play by Kathy Acker, this thirty minute film is an experiment in translation, not only between mediums and formats but between decades and bodies. Iit can be seen as a continuation or exacerbation of a literary gesture initiated by Acker, who set a drama about the French Revolution in early 1980s New York City, transposing this historical content into the language and bodies of downtown punks, drug addicts and sex workers.