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Subcontracted Nations Films – Short Films “Part Two”
2018Annual Programme
Subcontracted Nations Films – Short Films “Part Two”
Subcontracted Nations Films – Short Films “Part Two”Curator: Maika Mia Honhe
- Place: Theatre

Tickets: Free Entry


The Revolution Will Not Be Televised, 1988

Directed By: Stuart Baker (Duration: 4 minutes)


Directed By: Stuart Baker (Duration: 4 minutes) The sharp-edged words of Gil Scott-Heron’s infamous song The Revolution Will Not Be Televised, first released on his 1970 album Small Talk at 125th and Lenox, are relayed line for line using a video typewriter. Stuart Baker’s film speculates upon the idea of a world in which communication links have broken down whilst reiterating the power television has over us.


November, 1998

Directed By: Hito Steyerl (Duration: 25 minutes)

In November, Hito Steyerl examines the spectrum of interrelationships between territorial power politics (as practiced by Turkey in Kurdistan with the support of Germany) and individual forms of resistance. Her memories and accounts of Wolf’s life provoke the filmmaker to engage in a fundamental reflection: She comes to understand how fact and fiction are intertwined in the global discourse. Her friend’s picture as a revolutionary pin-up would equally connect with either Asian genre cinema or a private video document. If October is the hour of revolution, November is the time of common sense afterward, though it is also the time of madness—Hito Steyerl considers from this perspective a relationship which began with a pose, and Andrea Wolf took its implications so seriously that she was no longer satisfied with symbolic action. Wolf chose the Other of filmmaking, which was what made her into a true ‘icon’.


Gesang der Jünglinge, 2009

Directed By: Andree Korpys and Markus Löffler (Duration: 13 minutes)

A shot, an electric shock, a scream. Impotence and loss of control. Police officers experiment on themselves with an electroshock weapon, a taser, during official training. The gradual loss of ambient sound gives way to K. H. Stockhausen’s Gesang der Jünglinge and slowly leads into the subjects’ inner realm of pain. The film provokes physical reactions and makes us experience the vulnerability of humanity.

Martin Pleure, 2017

Directed By: Jonathan Vinel (Duration: 16 minutes)

Imagine you wake up one day and all your friends have disappeared. The friends that should be there are gone. So you look. You look everywhere. Every hiding place, each inch of the city, all the marshes, all the rivers. You look, but cannot find them.


Red Chewing Gum, 2000

Directed By: Akram Zaatari (Duration: 11 minutes)

Red Chewing Gum is a video letter that tells a story of separation between two men, set within the context of the changing Hamra, a formerly booming commercial centre. The video looks at image-making in relationship to consumption and the possession of desired subjects. It examines issues of desire and power and the attempt to capture fleeting time.

Everything, 2017

Directed By: David O’Reilly (Duration: 11 minutes)

“Whoever you are. Where you are. And whatever you are. You are in the middle. That’s the game.” Everything is a video game. The game is a simulation of the world, seen from the perspective of everyone and everything: Atoms, plants, animals, planets and galaxies. The English philosopher Alan Watts (1915–1973) accompanies this journey as narrator. It’s a simulation of reality where one can see the world from everything’s point of view—it’s kind of a philosophy project in the form of a game. There is no narrative or story—just the world as it is.