★

Johann Lurf's critical examination of the special effect of the "dolly zoom" - first used by Hitchcock in Vertigo - becomes a declaration of love to film and the richness of the cinematic language.

Revolving Rounds is a cyclical film in both form and content. Shot at an agricultural field on the outskirts of Vienna, Johann Lurf and Christina Jauernik’s 3D short begins as it ends, tracking a planimetric path alongside three greenhouses as the early morning sun beams across the surrounding lands.

A specially designed waterwheel interacts with strobe light, synchronized with two 35mm cameras recording the scenery in stereoscope. Our perception is tricked twice in a single moment: the illusion of the moving image is created in camera, while the illusion of standstill is forced by the strobe light onto the patterns of the waterwheel.

Der Bergdoktor is a German-Austrian medical drama television series, broadcast in 96 episodes between 1992 and 1997.

Hilarious overview of architectural failures. A road movie that provides new insights, but goes nowhere. Johann Lurf once again reveals his striking talent and his sense of humor. A to A is an extensive catalogue of mediocre architectural objects on roundabouts, competing for attention in the few seconds as they are passed. A unique artist's impression, shot from a spluttering Vespa.

Night-time, high-tech surveillance video uses circling camera to depict a run-of-the-mill contemporary business park. All is however not what it seems. The mechanical eye penetrates the initial security level unmasking the camouflage tactics of today's arms industry using its own tools.

26 TAKES FOR HARUN FAROCKI is a film collage made by former students. One minute per take. This film was shot by Arthur Sumereder, Axel Töpfer, Björn Kämmerer, Christoph Kolar, David Pujadas Bosch, Franziska Pflaum, Georg Tiller, Jessyca R. Hauser, Johann Lurf, Josephine Ahnelt, Karo Riha, Mina Lunzer, Michael Poetschko, Monika Rabofsky, Mrova, Nathalie Koger, Patrick Schabus, Peter Muzak, Selma Doborac, and Thomas Lehner.

Johann Lurf‘s film Endeavour slides between documentary, avant-garde film, and science-fiction. This highly singular combination of materials and techniques gives the viewer of Endeavour a feeling of flight, as the film continually evades the gravity of genres and definitive definitions. Lurf uses NASA footage from a day and a night launch of the space-shuttle that follows the booster rockets from take-off to splashdown.

The uninterrupted light trail of one year and ten months, condensed down to 20 minutes, filmed on a self-made camera. Daily rhythms accelerate, slowly at first, then more intensely. A structuralist film about transience.