Internationale Kurzfilmtage Oberhausen


Amit Dutta


The works of Amit Dutta oscillate between Indian mythology and a personal symbolism whose distinctive pictorial language is often compared with that of Sergei Parajanov. Born in 1977, the graduate of the Film and Television Institute of India is already regarded at his young age as one of the prime experimental filmmakers on the Subcontinent. He made a name for himself in Europe as well when Keshkambli was screened in Oberhausen in 2003, and he won the FIPRESCI Award at the festival in 2007 for Kramasha.

Gunvor Nelson


Swedish-American visual artist Gunvor Nelson is one of the most original women filmmakers of her generation. Fostered as an artist in the vibrant San Francisco Bay Area in the 1950s and 60s she has had a substantial influence on American avant-garde filmmaking since her debut in 1965. Her oeuvre includes legendary works like Schmeerguntz (1965) and the famous strip-tease satire Take-Off (1972). In 1992 Nelson moved back to Sweden continuing working with film and later on video that has been her medium of choice since 1998.

Lis Rhodes

No Wave


The productions were cheap, the actors and actresses irreverent, and film took its cue from the underground music scene. New York from 1978 to 1982: while the city virtually lay in ruins, a young generation hoisted the "No Wave" banner, striving to break out of the climate of decline. This programme brings together the most important Super 8 and video works made during this period. Featuring films by Vivienne Dick, Beth & Scott B as well as the European premieres of works by John Lurie and others. In cooperation with the Austrian Film Museum, Vienna.

Akram Zaatari

Fred Worden


Fred Worden, one of the US avant-garde's chief masters of irony, has made over two dozen films since the early 1970s, first on 16mm, and then starting in 2004 on DV. His work centres on experimenting with the sluggishness of human perception: in works like Throbs (1973), Here, There, Now, Later (1983) and When Worlds Collude (2008) he seeks the poetry in pure flow - there's something comforting in the fact that one ultimately does manage to find meaning in Worden's radical minimalism.