Sami Eschmann

Ingeborg and Adam are visionary hand surgeons bound by love, control, and irresistible fixations. She is compelled to steal objects; he longs to become one. When an accident brings the enigmatic Gaia into their lives, unexpected desires begin to take shape, unsettling the careful balance that has long defined their relationship.

OILFIELDS MINES HURRICANES is a road-movie, in which the classical concept of that genre - the quest for and the fixation of the own identity - is lead ad absurdum: Salpa, the traveler, experiences a corrosion of his all-along-multiple identity. This is already founded within the production: 18 authors have taken turns writing the screenplay. The amount and sequence of the scenes correlate with John Cage's organ piece As Slow As Possible. The performance venue of that piece, Halberstadt, is the apparent destination of Salpa's journey. But, arrived, no redemption is waiting...

In this film, as in Georges Méliès' films, the filmmaker is a magician. With nothing more than a fixed camera, a bit of cardboard and a lot of duct tape, he creates rooms and objects out of nothing. In a surprising and amusing way he thus reminds us of the possibilities in the most basic filmic and artistic means.