
User Score
8 votes
In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.
Status
Released
Original Language
DE
Overly cutesy collage of YouTube videos in which women overenthusiastically introduce their pets to the world. They all openly declare their love of their pedigree dogs and cats. The relationship between people and animals in current society is a recurring theme in the work of women's art collective Neozoon.

A historical revolutionary film depicting the struggle of peasants and the Baku proletariat against landowners and Musavatists in 1919.