the larger luxury hotels built during the 1970s not only had a restaurant, a hair salon, a souvenir shop and a bar, but usually also a nightclub in the cellar, generally indicated by an arrow at the stairs pointing down. almost all these have since been closed or renovated. this nightclub was filmed at the luna bar in hotel kyjev, bratislava. (kurzfilmtage oberhausen)script, cinematography arianne olthaar | editing andré bijma, arianne olthaar | music fester del hague | producer arianne olthaar | screening format dcp | distribution light cone
images of a comprehensive school in west germany that was built between 1972 and 1978. at the time it was very modern and progressive, both in the way of its education as well in its interior design. an example is the integrated disco in the cellar where up until today schoolchildren can dance during their lunch break. (light cone)
the film is inspired by the once huge and luxurious hotels in the former eastern bloc designed in the 1970s and 80s. today their glamour is considered out of date, therefore most of the hotels have been shut down, renovated or demolished. (light cone)
the camera eats into nothingness. the scene is reminiscent of abandoned underground bunkers or spaces in an industrial warehouse or workshop, spaces that do not have an obvious use, non-places whose utilitarian architecture larcher examines as if they were monuments to their presumably simple economic purpose. (sandro droschl)
young girls lie asleep between the intersections and the architectural elements of terragni's casa del fascio in como. flashlights shine in the space, making the images appear for an instant before being plunged back into darkness. around the sleeping bodies, some presences developed in 3d occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself. (production info)
the film's title designates a luxury housing block in moscow, built around 1930 for stalinist officials. remembrance, projection, putting yourself in a place: the house vibrates. it does not stand still, and the film does not stop there, with the image of a moloch-like state bureaucracy whose history it testifies to as a ruin. there may come a time in which governments are building not only fences and walls, but also houses so massive that they make us tremble. (drehli robnik)