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Neulich 1 is the third part of a series of cinematic notes on everyday life.

An era comes to an end. It seems to be time to render accounts. Preparations for the afterlife need to be made. In the form of a confession. Erich Honecker appears before the Holy Father. With a request for absolution. But the Pope has something to confess, too.

Three friends get caught in a major disaster and are filming with a dvcam. In the end their footage will show more, than the eye can catch.

A man tells a strange tale about a hotel he once visited.

Neulich 1 is the first part of a series of cinematic notes on everyday life.

The second part of a series of cinematic notes on everyday life. Here, Jochen Kuhn presents an intimate scene in a dark examination room where a man undergoes a medical procedure with a modern device, revealing images of his mind. This is part of Kuhn’s series on everyday social events. His work, characterized by a strong sense of intimacy and intellectual irony, uses the disappearing image technique to create mysterious stories. Kuhn’s films blend private and public images into a memory landscape, capturing the essence of waiting rooms where fear and hope coexist. He employs a 35 mm camera to over-paint images, leaving traces and scraps that carry forward, showcasing a thoughtful approach to film in a fast-paced editing era.

A painter learns that leaving the creative life behind is much more complicated than he expected.

The hermit Jimbo lives with his flesh-eating plant Clementine in a treehouse in nowhere land. When he takes away Clemetine’s beloved coca plant, she strikes back. This was Jacob Fey's first project at the Filmakademie Baden-Württemberg and the first time Roman Kälin and he got in contact with the stop-motion technique. They created huge sets and built the puppets out of silicon and metal joints. The set can be seen in the Filmakademie in Ludwigsburg. The production time was four months.

Neulich 5 is the fifth part of a series of cinematic notes on everyday life. The protagonist enters a brothel, caught between dream and reality, morality and eroticism. The prostitute reveals the town’s involvement, including his family, rather than introducing him to sex for sale. Kuhn’s manner humorously critiques small-minded moralism, while the films highlight painting’s fluidity.