Selma Doborac

26 TAKES FOR HARUN FAROCKI is a film collage made by former students. One minute per take. This film was shot by Arthur Sumereder, Axel Töpfer, Björn Kämmerer, Christoph Kolar, David Pujadas Bosch, Franziska Pflaum, Georg Tiller, Jessyca R. Hauser, Johann Lurf, Josephine Ahnelt, Karo Riha, Mina Lunzer, Michael Poetschko, Monika Rabofsky, Mrova, Nathalie Koger, Patrick Schabus, Peter Muzak, Selma Doborac, and Thomas Lehner.

How can cinema engage with complicity in crimes against humanity, extreme violence and state terror without conniving in it? De Facto finds answers to this question via two actors, a precisely compiled collage of texts and a deliberately reduced setting.

Based on various Bud Spencer and Terence Hill films, Showtime reduces the movement of the human body in film to an abstract level in a distinctively colourful way.

Experimental filmmaker Selma Doborac presents a radical and uncompromising essay on the impossibility of depicting the atrocities of war through insightful subtitles and meditative footage of abandoned structures that belong to the present as well as to the past.

26 TAKES FOR HARUN FAROCKI is a film collage made by former students. One minute per take. This film was shot by Arthur Sumereder, Axel Töpfer, Björn Kämmerer, Christoph Kolar, David Pujadas Bosch, Franziska Pflaum, Georg Tiller, Jessyca R. Hauser, Johann Lurf, Josephine Ahnelt, Karo Riha, Mina Lunzer, Michael Poetschko, Monika Rabofsky, Mrova, Nathalie Koger, Patrick Schabus, Peter Muzak, Selma Doborac, and Thomas Lehner.

How can cinema engage with complicity in crimes against humanity, extreme violence and state terror without conniving in it? De Facto finds answers to this question via two actors, a precisely compiled collage of texts and a deliberately reduced setting.

How can cinema engage with complicity in crimes against humanity, extreme violence and state terror without conniving in it? De Facto finds answers to this question via two actors, a precisely compiled collage of texts and a deliberately reduced setting.

How can cinema engage with complicity in crimes against humanity, extreme violence and state terror without conniving in it? De Facto finds answers to this question via two actors, a precisely compiled collage of texts and a deliberately reduced setting.

Based on various Bud Spencer and Terence Hill films, Showtime reduces the movement of the human body in film to an abstract level in a distinctively colourful way.

Experimental filmmaker Selma Doborac presents a radical and uncompromising essay on the impossibility of depicting the atrocities of war through insightful subtitles and meditative footage of abandoned structures that belong to the present as well as to the past.

Experimental filmmaker Selma Doborac presents a radical and uncompromising essay on the impossibility of depicting the atrocities of war through insightful subtitles and meditative footage of abandoned structures that belong to the present as well as to the past.