Monika Funke-Stern

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A cinematic interpretation of an ancient myth and the visual metaphor of the feminine sea.

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Digitalization changes our life and will change it even more radically. There is the promise of eternal life, but also the prediction that we have to emigrate from the planet. The film shows aspects of digitalization in medicine, art, architecture, biology, astrophysics.

The frog and the princess. And the famous prince concealed in the frog, who eternally seeks the magic word that will release him. Shall he change or shall he remain as he is? What does the princess do? In the end, it is she who transforms ..

In her work, Monika Funke Stern operates at the intersection between experimental film and video art. She relies both on a variety of filmic techniques and effects and a powerful dramaturgy of filmic devices. She develops her own visual signature and a great interest in her subjects, which often play with elements of science fiction to develop a critical take on reality. In her comical Zum Glück gibt’s kein Patent she portrays Norma DIN working at the patent office, played by Hella von Sinnen. Norma’s ordinary life and workaday world is shaped by the endless meaninglessness of the neutral abstraction of inventions. The story reaches a climax when Norma is presented with a robot that is intended to replace employees like herself one day. Norma can apply a whole series of bureaucratic policy provisions and classify the robot as not worthy of a patent.

If the hands had eyes during the act of love, if the whole body could see. This is what the video simulates. It was filmed with an endoscope, the optical system with which you can go directly on and into the body. Due to technical conditions (light intensity, etc.), it was shot on 16mm film. The trick editing was done on high-tape with a special effects generator. The story is told by a sailor whose sea wife always wants to hear the story again, when she is in his arms.

The video work “Frankensteins Scheidung” by Monika Funke Stern takes up the motif of an artificial human being, which reaches back to the early nineteenth century. The artist develops her own story of an artificially created woman.