Seit 1990
Filmarchiv Negativeland
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VERLEIH, VERKAUF und VERSAND
Berlin-Prenzlauer Berg
Danziger Str. 41 / Ecke Duncker
Montag bis Donnerstag von 14-22 Uhr
Freitag und Samstag von 12-24 Uhr und
Sonn- und Feiertags von 14-22 Uhr geöffnet
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 Carl Andersen
Reviews by Glauser Price winner Hartmut Mechtel
deutsche Version >>
- - *1958
- - Director (since 1988), author, journalist.
- - lives and works in Berlin
Favourite theme: The desire for love, nearness and sex and the fear of too much of it. His style includes elements of expressive silent movies as well as psychodramas.
Films:
2004: Eiszeit
2002: LICK AN APPLE LIKE A PUSSY - THE MOVIE STANISLAWSKI NEVER MADE
Featuring Malga Kubiak, Antje M. Pohsegger, Karoline Heinrich, Thomas Goersch, Lothar Lambert u.a.
a remote house deep in the forest, an obsessive female director, five curious actors, a movie about sexual passion, brecht & stanislawski, and a cat named "pussy".
Also the newest production revolves around Andersen's main themes: filmmaking, failure and sexuality. A filmteam meets for rehearsals in a remote house in the forest. Marga, the director, already lost everything because of her cineastic obsession: money, residence, husband, child. She expects full engagement from the actors too. And they wood give it, if there were not their sense of decency. The movie should include some scenes with real sex. No problem to be naked and play sex, but doing it in front of the camera, no, not that. Even alcohol doesn't remove all the inhibitions and Marga don't want to give therapy but make a movie, and does not understand, that sometimes it is the same. She looses control. The rehearsals become a fiasco for all the people involved. The emotions, that probably exist between the director and the main actress, are be massacred on top of the altar of the filmproduction and Marga mutates to a domina without a client. The limits are getting testet to the embarressment. Have one to lay down his mask to have sex in front of a camera? Is it actually a matter of sex in front of a camera? Does sex depend on love? Is love more important than filmmaking? Not the movie is asking these questions, I did. "lick an apple..." seems to be the plain, maybe emotionless shooted recording of the talks und rehearsals. The art of Andersen's production is, that you don't become aware of it. The director is as invisible as his alter ego Simon, taking part with his camera und is shooting all, even if he is not wanted. This all could have happened exactly like this. That's why the biggest surprise are the credits, telling us, that it really were roles we were seeing. By the way, the english titel is not a bogus claim. The director is a woman from Poland, not speaking any german. Of course the german actors speak in their native language, if they are alone, but this happens not often. That's why all outbursts, all uncertainties and challenges are getting alienated through language. You become angry, would like to insult the director but you are forced to do this in a language you don't speak very well. In this way this document of failure is funny too. Like in all of Andersen's movies. I like his depressive-funny movies.
2001: ANDERSENS MÄRCHEN VON DER LIEBE
Directing & camera: Carl Andersen
Story: Carl Andersen & Katja Karouaschan
Featuring: Katja Karouaschan, Maria Mohr, Mona C. Bricke, Klaus Redlich, Martin Nechvatal, Dorothea Moritz, Harald Harzheim, Stephanie Hofmeister, Anne Neuvians & Tanja Grüsser
some statements:
Love is far away frome tale. It gets under your skin. Very deep. -- Glauser Price winner Hartmut Mechtel
Strange is, how you identify yourself in this abyss of relationships. A beautiful movie. -- Adina Solveig, actress
A cheeky movie with smutty events about stolid sex acts and other realistic
situations. -- Stefan Koeck, filmmaker
Carl Andersen fights bravely against the whole tendency to good behaviour. -- Christel Drawer, Max Ophüls Festival
An emotionally radical research arrangement about the impossibility of human
contact. -- Claus Löser, filmcritic
To fuck in daily routine - unprettified and depressing. -- Bärbel, Kanal B
1999: DIE SEHNSUCHT NACH DEM MEHR
Featuring: Jana Gaspary, Carl Andersen
Jana, Raffaele and Carl are trying to analyse the character of their relationships
- in front and behind the camera, two young people and one, who is old enough to be their dad, three days and three nights. The film is a record of a situation, which resulted in conflicts and confusions. It is a film diary, which has a disturbingly authentic effect on the viewer. It is about human desires, dreams and fears, a film, where the lines between reality and fiction slowly disappear.
It is hard to believe that a film, which mainly consists of close-ups and actors who are struggling for words, could be entertaining. The film is a documentary about an experiment of three people, who share a flat. Two of them used to have a relationship in the past. During the shooting, the third person, Andersen himself, who is nearly twice as old as the others, is developing a relationship with the girl. The boy is leaving, the other two continue the experiment, driven by a desire for more. The experiment becomes secondary. More important is, what the actors think about it. Precise, distinct, brilliantly illuminated black-and-white pictures and statements, which create an uneasy atmosphere, which lasts until the end of the film and beyond. There is a hint of nearness at the end, the hope for more, somewhere, sometime. But the general atmosphere is depressive, which is only brightened by the girl. At the end, one can share Carl's feelings for her, and get a chance to fall in love. Despite the quiet and motionless pictures and the lack of action, it is possible to find some truths about life. It is the most serious and moving film of Carl Andersen.
1998: VOM LUXUS DER LIEBE (MONDO WEIRDO II: The Luxury of Love)
Featuring: Jessica F. Manera, Erwin Leder
Jessica F. Manera (cf. Mondo Weirdo I) and Erwin Leder (cf. Das Boot) in a tickling psychodrama about sexual fears, nearness and estrangement, and the danger of making films about private matters. A fragile and intimate film full of grief and beauty.
Commentary of the Press:
A courageous film, moving and lingering. -- ND
Jessica F. Manera's intensity is impressing. -- Tip
Unusual psycho trip of a woman. -- Zitty
Andersen's first and only colour film puts an end to the style of his former films. The film appears like a documentary about the failure of a film production. Director, Jessica F. Manera is being left alone by her main actress. The problems with her own sexuality make it impossible for her to finish the film. Intimate talks with actors cannot help her either. She is suffering from her daily life and the futile attempts to finish her film. Even the Underground-film Bohemia is not just pure fun. A good film is as much luxury as love is.
1997: KINO IM KOPF (Episodes. Andersen's contribution: Vampirellas in Ketten)
1986: WODKA, JAZZ UND PERESTROIKA (post-production and cut)
1994: KILLING MOM
Featuring Stephanie Hofmeister, Lothar Lambert
Underground-Soap, which could almost be a Musical. A girl from Berlin escapes from her parents and ends up living with bisexuals. It is a story about teenagers, boldly directed, with a funny soundtrack and an illustrious cast of actors from the Lambert-"Family".
The film is an ambivalent attempt to shoot a feature film with amateurs. A girl escapes from her conservative home, where a neurotic mother terrorizes the whole family. When her mother has to go to hospital, the girl shares flats with lesbians and heterosexuals. Her mother comes home, but the girl is still enjoying her wild lifestyle. The girl is telling her own story. But unfortunately, her crazy mother is killing her just before she reaches the happy-end. The audience is left with an ambivalent feeling. Not all amateurs are good actors, but it is easy to find out, which actors are: the parents (director Lothar Lambert and Dorothea Moritz) and the daughter. The minor parts, on the other side, spoil the fun sometimes.
1991: WHAT'S SO DIRTY ABOUT?
1990: JUNGFRAU AM ABGRUND (Mondo Weirdo: A Trip to Paranoia Paradise)
Featuring Jessica F. Manera, Miranda Mariaux
A young girl in a nightmare of bisexuality, vampirism, and death. Her bizarre trip into her inner self ends in madness and frustration - or in the final realization of her suppressed desires. A hardcore version of Polanski's Ekel - cruel fairy tales from the subconscious, expressive and full of powerful metaphors.
Commentary of the Press:
A strong expressionist metaphorical language. -- taz
A pornographic version of Polanski's Ekel and Romero's Martin. -- Der Standard
Expressively powerful, cruel fairy tales from the subconscious. -- Tagesspiegel
The film visualizes the erotic nightmares of a girl, who, after a negative experience, suspects sex and violence behind every door. Without showing any emotions, Jessica F. Manera walks through her grotesque inner life, which seems to be turned inside out. This is pure horror and pornography. Sometimes, when things are exaggerated, the horror becomes comic, even in the darkness of the black-and-white film. It is not a relaxed, but overexcited and depressive cheerfulness, a shrill and anarchic orgy of rock music and fantasies about sex and violence.
1988: VAMPIROS SEXOS (I was a Teenage Zabbadoing)
Featuring Ronnie Urini, Yasmin Bevilaqua.
First film of no-budget director Carl Andersen. The story around the bisexual vampirism is secondary and irrelevant. Wild episodes and carefree sex scenes spread their brachial charm. The film travels back in time, when girls used to wear mini-skirts and patent leather boots.
The film quotes slapstick-, vampire-, horror-, teenager- and sex movies. The action is secondary. All actors are amateurs. The original soundtrack is replaced by music from Modell D'oo. Oil transforms teenagers into vampires. These teenage vampires turn into killer and sex maniacs. The crucifix has no power over them. Only Tarkowski videos make them shrink back in agony. But when the vampire girls are too sexy, the vampire hunters throw away the videotapes and themselves into a whirlpool of lust and passion, finally accepting their own destruction. The film is funny and overdrawn, with amateur actors, who clearly enjoy themselves.
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