Ute Aurand

No synopsis available yet.

A cinematic interpretation of an ancient myth and the visual metaphor of the feminine sea.

Beavers revisits locations in Berlin first filmed in Diminished Frame (1970), alongside sites in Massachusetts, to reflect on how lived places shape vision and memory. Moving between past and present, the film becomes a meditation on perception, time, and the persistence of personal landscapes.

No synopsis available yet.

No synopsis available yet.

Portrait of Canadian artist Susan Turcot in 1993 and 2011.

A film structured around Detel Aurand and Jon Sigurgeiersson.

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

Two memories from a longer visit to New England in Autumn 2012: a group of elderly ladies playing bridge followed by the stormy ocean at Cape Cod in Winter while listening to Etienne Grenier's music practice.

A filmic encounter with Brazil, which Aurand visited for the first time in September 2022 for screenings of her films and Margaret Tait’s in São Paulo and Rio de Janeiro. Aurand’s 16mm films are portraits of people and place, often prompted by the discovery and experience of travel. As George Clark has written, the journey is a cornerstone of Aurand’s filmmaking: "“Her work builds out from fragments, detours, refrains and returns; her camera picks up discarded gestures and suspends them in time. Films are always moving, always fleeting, Aurand’s work reminds us. These qualities are as fundamental to lived experience as they are to the cinema. Throughout Ute Aurand’s work we encounter a world animated by her mobile and dynamic camera, following, chasing, leading and dissecting space."

ZU HAUSE (At Home) ist the final sequence in TERZEN, playing with the filmmakers shadow and the Bolex camera while filming in her kitchen.

A portrait of the filmmakers Bärbel Freund and Karl Heil like a song in its changing verses, the locations were chosen according to mood and season: in spring, in snow, in Venice, in the flat, alone and together.

Scenes in the park of the Rietberg Museum in Zurich with its collection of Asian, African and Indian art.

Throughout her work, Aurand frequently makes her camera and her images felt as an active, moving body—spinning, rushing, departing, returning, expanding, contracting, hanging upside down. In A Walk, her film goes walking. The camera occupies a snowy Swiss setting, as Aurand creates a material, tonal landscape that is both nebulous, serene, and wonderfully energetic.

Shot on 16mm, Ute Aurand documents the archive of Kino Arsenal - Institut für Film und Videokunst before its contents underwent a thorough 'repotting' operation

A short portrait of the filmmaker Renate Sami.

One day in Neubrandenburg, filmed in a small city 130km north of Berlin in September 1995.

For a year at monthly intervals, Ute Aurand and Bärbel Freund filmed In the Garden, a lovely portrait of a Potsdam-Bornim garden designed in 1910 by gardener and philosopher Karl Foerster. An extraordinary variety of flora, natural lighting effects, textures and colors unfold in this gentle, expertly edited film, which forms a bridge between the natural world and the individual soul.

"Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old." U.A.

A cinematic interpretation of an ancient myth and the visual metaphor of the feminine sea.

Short film featuring images of flowers.

A walk, a moment at the beach... And the Japanese filmmaker Utako Koguchi behind the heard piano.

“In the day after seeing Terzen, there was a surprising sense of the film that developed for me. The rhythms were still present and helped to unify a multitude of impressions. This lead me to reconsider the general tone of the film because, as I reached beyond its quick pace and rhythmic lightness and beyond the everyday content, I realized that its Heiterkeit grows out of a serenity or courage in facing mortality. This is the surprising sense of the film, its inner music. (…) Early in the film I recall a chair held in the strong afternoon sunlight. Even though you show it from many angles, it has a potent stillness. This strikes me as a good example of how you embody an active sense of seeing in your filming, and you reflect back to us the paradox that it is in movement that we create stillness. The eye, constantly moving yet creating stillness." — Robert Beavers

Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.

Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.

No synopsis available yet.

Four women film each other getting dressed in this four-part film. The motive for making the film was to work with a Bolex camera. A protected space is created, to which only women have access – and in which the female gaze is directed towards the female body.

Jón in Akureyri is the second part of Detel + Jón. I filmed Jón Sigrurgeiersson walking through the streets of his childhood, meeting his filmmaker brother and telling childhood stories.