Double Take

[ˈdʊŋkl̩ˌdɔɪ̯ʧlant]
Juliane Jaschnow & Stefanie Schroeder, 2015, Video, 13’

 

The film transports us from the inside of an old factory of cinematographic films (where people used to work in complete darkness) to a sensory journey to places initially unknown, that gradually enclose a belonging region. The film presents the integration of Socialist Germany – ironically called “Dark Germany” by the Western Part – and the definition of a new scope. The film overlaps past and future in layers of sensations that balance between the disappearance and the invention of a place.

Double Take

Johan Grimonprez, Belgium / The Netherlands / Germany, 2009, DCP, 80’

 

A faux Alfred Hitchcock murder plot is set at the centre of Cold War politics, while vintage footage tracks the psychological parry and thrust between the capitalist West and Communist Bloc. The two stories sit comfortably beside one another; after all, Nikita Khrushchev and Hitchcock’s films were both creations of the fear industry. In a story written by Tom McCarthy and indebted to Jorge Luis Borges’ short story “August 25, 1983,” in which the author meets an older version of himself, Grimonprez’ thriller has Hitchcock (played by an uncanny look-alike) meeting his doppelgänger in 1962, with the twist that his double lives 18 years in the future – meaning that they are meeting in the year of Hitchcock’s death… Double Take is essentially a historical film, and the lessons it teaches are seen in hindsight, but it nudges us to wonder what we’re not seeing today when we go to the movies. (Ronald Jones, Frieze)

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