Linda Christanell

Double 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s [...] In the gesture of mutual filming, images are created in the eyes of the others. The gazes into the camera create a visual loop between the two women while at same time pointing at the beholder. These images constitute the two women as self-determined subjects saying: I see you seeing me - instead of being looked at as an object. (Christiana Perschon)

1982 short experimental film by Linda Christanell

Short experimental film by Austrian filmmaker Linda Christanell

1984 Linda Christanell experimental short

A house facade as compressed memory, an ephemeral film between inside and out, between then and now. In Linda Christanell's newest film Moving Picture, the opulent presentation of fetishistically decorated tabeaus has made way for a material-transposing montage technique. The applied viewpoint (via Barbara Stanwyck) opens up multi-dimensional insights and varies thoses poetic aspects which have till now been indicative of Christanell's moving (in both senses of the word) images. The results are new cadenzas in sound and picture. (Ulrike Sladek)

This is the theme of the film: The secret of objects in the huge space and time curve: the not-being-able-to-recognize, the not-being-able-to-grasp, the not-knowing. The curve is presented in the film as a miniature: 24 hours (morning, day, evening, night, morning) condensed into 40 minutes.

1982 short experimental film by Linda Christanell

Short experimental film by Austrian filmmaker Linda Christanell

1984 Linda Christanell experimental short

A house facade as compressed memory, an ephemeral film between inside and out, between then and now. In Linda Christanell's newest film Moving Picture, the opulent presentation of fetishistically decorated tabeaus has made way for a material-transposing montage technique. The applied viewpoint (via Barbara Stanwyck) opens up multi-dimensional insights and varies thoses poetic aspects which have till now been indicative of Christanell's moving (in both senses of the word) images. The results are new cadenzas in sound and picture. (Ulrike Sladek)

Anna is a portrait of Anna Rheinsberg, and an attempt by Christanell to see herself in her friend: What do women of a certain age have in common, whatconstitutes femininity? One answer would be the objects in one’s life, and what one does with them.

Memories and wishes are giving some color to the non-sense.

A film about which there are no words - an action with the camera - objects tell a random story - objects are bearers of obsessions -issuing energy as fetishes. Symbols of femininity and masculinity that have become glitter and trinkets are arranged, contemplated, varied, animated, recoded if not affirmed in their meaning, power. In the centre of all these things a wedding photo: beaming bride with happy, uniformed groom.

A few takes of Barbara Stanwyck and Fred MacMurray, a scene from Billy Wilder’s Double Indemnity, are the starting point for Picture Again: a woman and a man in a car, the murderess and her prey. The images in this sequence are accompanied and superimposed by documentary street scenes from Berlin and Madrid. A few birds flutter like birds of prey through an old horror film. Picture Again values a thorough structuralist formation, musical rhythm of the images, without refraining from the ecstatic.

No synopsis available yet.

1978 Linda Christanell experimental short

The scene of events is a table in a room. The table is set; a celebration has taken place. A woman is in the scene. A wild drama full of lust, seduction, irony and violence comes to its end.

1978 Linda Christanell experimental short

1997 Linda Christanell experimental short

1992 Linda Christanell short experimental work