Sami Eschmann

Ingeborg and Adam are partners in life and at work. They are visionary hand surgeons who love being in control. She loves stealing objects, whereas he wants nothing more than to be her object. After an accident, she is forced to slow down and accept the help of a young, enigmatic woman named Gaia. As Ingeborg develops new obsessions, Adam begins searching for his own object of desire.

OILFIELDS MINES HURRICANES is a road-movie, in which the classical concept of that genre - the quest for and the fixation of the own identity - is lead ad absurdum: Salpa, the traveler, experiences a corrosion of his all-along-multiple identity. This is already founded within the production: 18 authors have taken turns writing the screenplay. The amount and sequence of the scenes correlate with John Cage's organ piece As Slow As Possible. The performance venue of that piece, Halberstadt, is the apparent destination of Salpa's journey. But, arrived, no redemption is waiting...

In this film, as in Georges Méliès' films, the filmmaker is a magician. With nothing more than a fixed camera, a bit of cardboard and a lot of duct tape, he creates rooms and objects out of nothing. In a surprising and amusing way he thus reminds us of the possibilities in the most basic filmic and artistic means.