the Voice of God
India, 2011, 35mm, 1:1.85, 10 min Voiceover - Harish Bhimani If God would come down to earth and try to earn a living in Bombay, most probably he would very soon become successful as a voice over artiste, lending his voice to thousands of hindi movies and even more documentaries and public service films in India. A melo-dramatic docu-drama with voice-over in stop-motion and long-time exposure..
Batagur Baska [by Guido Möbius]
music video, directed by Bernd Lützeler
Brazil and Germany, 2016, Super-8, 1:1.37, 8 min
They gather here every day. They come from far and without purpose. They don't know each other and they won't come to know each other. They carry their gadgets to optimize the experience. They engage with the world through a small frame. They believe that this moment will remain unforgotten. Digital rituals in the analogue Cloud.
A Soundfilm
Germany, 2017, Super-8, 1:1.37, 6 min
Who needs focus anyway when the camera can record sound? A psychedelic excursion into 1970's hobby filmmaking.
_galore
India and Germany, 2018, Digital 4K, 1:1.33, 9 mins
The streetscapes of contemporary Indian metros are largely dominated by products. The typical local shop can be described as a windowless, rectangular box. Stepping into such a shop can be like entering a new world: Filled with products galore up to the ceiling. The product itself serves as the interior design. Shopping galore. Products galore. Profits galore.
Fictitious Force
by Philip Widmann
India and Germany, 2015, Super 16, b&w, 1:1.78, 15 min
with Tarun Katari
Cinematography - Basab Mullik
Additional Cinematography - Bernd Lützeler
Conception and Montage - Philip Widmann
A theorem from physics that describes apparent forces in circular motion when observed from an external frame of reference lends its name to this film: Fictitious Force is a cinematic exchange on the impossibility of sharing experiences, in black and white and grey.
Traveling with Maxim Gorkiy
Dir: Bernd Lützeler and Kolja Kunt
Germany, 2014, Super-8, 1:1.37, 11 min
As so often, also here it's rather about allusion than description. This also applies to the persons represented. Flat silhouettes of people. Their heads depicted in profile. Faces with no expression, formal gestures. In the background, a little bit of everyday life: The hard, square, stone architecture arises from ocher-colored, brownish, blackish mush of color or mud. A demonstration of the function of the central perspective. An idealized representation of a tropical paradise. Strangely, there's no absurdity in this.
Camera Threat
India and Germany, 2017, 35mm and DCP, 1:1.85, 30 min
with Mansi Multani, Pushpendra Singh and Girish Pardeshi
Voiceovers - Harish Bhimani & Shai Heredia
Somewhere in the dreary spheres of Mumbai's film industry, Camera Threat explores the ambivalent relationship this film city has with the moving image. Seated on a casting couch, two actors are getting stuck in impromptu conversations on the side effects of a world that no longer bothers to tell facts from fiction. An expanded multi-genre film within the constraints of the so-called Masala Formula known from Indian cinema.