Blonde Barbarei

A strange succession of tableaux of four women and a man which gives the sense of a sort of dream family locked in an antiseptic world of endless afternoon teas, dinners and waiting. Often her images seem to be stills either before or after something has been said.

For "Thermoment" Dore O. filmed the clarinetist Eckard Koltermann with a heat recording camera and thus translated the heat regions of the body's interior into images while making music.

A fixed shot showing six persons, looking into the camera inertly. Gradually tiny, minimal movements can be registered.

Attracted to Nordic landscapes, [Dore O.] filmed KALDALON (1970/71) in Iceland where images of water, rocks, steam and smoke were technically enhanced to appear blue-tinged.

A painter surrounded by images - his own and those of the reality that surrounds him - is the protagonist of the latest film by Dore O., moves exactly in the border area between the two, only apparently separate worlds.

A series of still photographs, is various states of photographic exposure.

The reality of the film is the fantast of the viewer. My north pole in the Ruhr valley. Dedicated to Georges Méliès.

Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.

In 1920 Frans Masereel published in Paris his woodcut series "The idea". Dore O. has draw inspiration from this work on her first feature film, a poetic fable about the human longing for a free and just society. Following Masereel "idea" Dore O's "CANDIDA" accesses old, anchored in the ancient Christian tradition and ideas, according to which such ideas and aspirations in the image of the naked woman find their embodiment.

An experimental film where a particular space is constantly "present" : there is a complex usage of superim- position, and of split-screen effects. The place shown is a part of a house in the country. Doors and windows are continually shown, emphasizing the film's concern with framing. Other images are present: city-scapes of a particularly sinister nature, implying a sense of ruin, and shots of a chorus on a stage. These shots begin and end the film which is accompanied by a vocal chant on the soundtrack.

The German artist Joseph Beuys is reflecting on his theory of art, being filmed as a kinetic sculpture. In 1981, the film has won the German film critic's award for “Best short film in Germany”.

A montage experiment in which Dore O., her body painted in different colours, swings back and forth in front of a movie screen, on which is painted a phallus (slightly abstract and fairly large). The perspective is such that the girl appears to be swinging into and out of the phallus. It is one who is content to see through the specific event. The work exhausts itself in a trivial aspect, the literary. This is most comfortable for the critic: the literary content of a work is easiest to reproduce in a literary form of criticism.

The film is divided into five parts differing in pictorial and musical structure. The plot, two women and their love for one another, is of secondary importance. An ingenious combination of stereoscopic images and montage of individual pictures make new qualities of perception accessible to the viewer. In the final part of the love scenes pictorial sequences and music build up to a delirious rhythm.

Director Werner Nekes has created this experimental film in the mode of James Joyce's Ulysses to the extent that human interactions are represented by poetic, symbolic images and language, with a certain amount of nudity added in.

Hurrycan has nothing to do with whirlwinds, although in this Nekes film the pictures journey across the screen, excitedly, spasmodically and flickering. The title weds the element of haste with the notion of a film can, which in this case turns out to be something of a Pandora's Box and contains expectations for a new way of seeing. A computerized shutter system that Nekes had built.

Enzyklop is a rediscovery and reconstruction of the cyclopean gaze that Odysseus erased to free himself. The search for the lost view leads to intermediate distances, into the realm of association, the multiplicity of dimensions. An anthology, a variety of image/image ideas is created.