Bild: Darkness, Darkness, Burning Bright, Gaelle Rouard (Videostill)
Darkness, Darkness, Burning Bright, 2022, 70 min, Coul 16mm
First part Prelude
Darkness, darkness, burning bright
In the forests of the night
Vast flowered paths, fresh branches,
Groves full of perfumes, birds and whispers,
Site often seen again, and always contemplated
Wind that gurgles at the bottom of the chimneys that months, hours and days….
To the windows that a beautiful clear ray wants to tarnish,
So many rays that will all arrive too late!
Of joy and flowers, in the wheat.
Wind which gurgles at the bottom of the chimneys that months, hours and years….
The moon, the sun, the sky and the stars
Over there, mooing groups of great oxen with gloomy eyes
So that, immersed in their sweetness and their prayer
More clear and better tempered, they are returned.
For those who see them naked and without veils,
The moon, the sun, the sky and the stars!
Second part Oraison
Darkness, darkness, burning bright
In the forests of the night
And the mad impulse of this distraught soul,
And that had, the forehead circled in copper, under the moon
O mysterious death, O sister of charity.
What soul should it take in this old growth forest
Who goes, climbing the mountains, to the sky to storm,
Great night ! August sanctuary of secrets
Ancestor of the ancient sea and forest
Frail herbs, ten
der branches, hollyhocks,
And the shadow that brushes and the wind that knots,
And strongly, with the fists of its clouds,
On the greenish horizon, crushes suns.
Bild: Christin Turner, What Happens to the Mountain (Screenshot)
Christin Turner is is a filmmaker and video artist whose work seeks to change our ideas of the
past and honoring traditions with a new and more modern outlook. She depicts landscape as
both metaphor and means for traversing psychological terrains, and investigates thepossibilities of cinema as a site for transcendence. Turner’s use of color and light has been
described as painterly, impressionistic, and psychedelic.
Turner received an MFA from the University of Colorado at Boulder, and a BA from the
University of California San Diego. Her experimental films have been featured on vdrome and
Frieze, and have screened at a variety of venues including the Museum of Modern Art,
International Film Festival Rotterdam, Karlovy-Vary, Ann Arbor Film Festival, Edinburgh
International Film Festival, Festival du Nouveau Cinema Montreal, 25FPS Festival, Kurzfilmtage
Winterthur and at Kurzfilmtage Hamburg where she was awarded the De-Framed Prize (2017).
Her work has been supported with residencies at MacDowell, the Bogliasco Foundation and
the Villa Sträuli.
What Happens to the Mountain 12:09 (USA) 2016
The mountain has not yet been a mountain.
The mountain is not yet a mountain.
The mountain will soon be a mountain.
The mountain is almost a mountain.
The mountain is a mountain.
The mountain continues to be a mountain.
The mountain is only just a mountain.
The mountain is no longer a mountain.
The mountain will no more be a mountain.
The mountain will never again be a mountain.
The mountain was never a mountain.
The mountain is a mountain.
— Edvard Kocbek
What Happens to the Mountain draws upon literary sources, late night radio, and ancient legends to conjure a psycho-geographic experience in a sacred landscape. A long-distance driver, a drifter, journeys from a tenuous reality into a vision of the afterlife, called forth by the spirit of the mountain.
Born to be Yves Klein Blue 4:53 (USA) 2016
An image flashes on the screen. Teenage informer Richard Brun, 19, shining a lot on the spot to
which the bodies of the two sisters Gretchen, 17, & Wendy, 13, had been dragged in the desert
by their killer Charles Schmid, 23, but can now not be found.
The film is an improvisation, a poem, a song, blue nights in Palm Desert. Inspired by the films
of Vincent Grenier, magicians, Rebecca Solnit, and “Yves Klein Speaks!”
Vesuvius at Home 14:06 (USA/ITALY) 2018
Volcanoes be in Sicily
And South America
I judge from my Geography—
Volcanos nearer here
A Lava step at any time
Am I inclined to climb—
A Crater I may contemplate
Vesuvius at Home.
— Emily Dickinson
A fantastical journey from the filmmaker’s childhood re-enactment of The Fall of Pompeii, through decades and decline, to the Sibyl’s Cave, wherein she discovers Vesuvius’ symbiosis with cinema, memory, and Giambattista Vico’s spiral of time.
Land Rebel 2:00, (USA) 2018
Winds of change turn the wheels of fortune in Tularosa, New Mexico. Downwind from the atomic bomb site at Alamogordo, a man with flowers in his pocket – A Land Rebel – builds a Buddhist shrine to counterbalance the vortex of power and destruction.
Der Stein zu Wörlitz 5:10 (GERMANY) 2019
“In front of me, Vesuvius. Now throw flames and smoke. An extraordinary show! Imagine a huge firework that doesn’t stop for a single minute”
– Nikolai Vasilyevich Gogol
An experiential response to the Wikipedia entry on the artificial replica of Vesuvius in Wörlitz,
Germany, and a document of its final eruption using pyrotechnics, filmed during the summer of 2019.
A Dream in Red 11:07 (UK/USA) 2020
A poetic, time traveling meditation on ecological disaster via a hand processed black and white16mm montage of people in hiding confined in an ambiguous setting and time frame. Joltingfrom the temporal to the primal experience of the unknown, gradual cues subtly suggest that thesetting is Pompeii during the volcanic eruption. In the aftermath, a woman without sight feels her
way to an uncertain future. Non-binary composer Cee Haines’ music project C H A I N E S
accompanies the visual work with a dynamic, modular score using live musicians andelectronics.
Bild: Matthias Roth, Landscape I, videostill
With contributions from:
Michelle Alperin & Joe Neave, Boisseau & Westermeyer, Patrick Borchers, Henrike Daum, Helmut Dick, Andreas Drewer, Kim Dotty Hachmann & Ginny Sykes, Yuki Jungesblut, Peter Kees, Ruppe Koselleck, Hanako Miyamoto, Matthias Roth und Stock‘n‘Wolf
Nervous Belly, 2020/2022
Michelle Alperin & Joe Neave
2:18 min, no sound
Each image in the video Nervous Belly by Michelle Alperin and Joe Neave was individually hand-drawn on paper. Nervous Belly is about intimacy: a woman wants to rub her husband’s belly and he wants her to rub it. But he doesn’t want her to notice his roundness. For this reason, he tries to pull his belly in before she lifts his shirt. Sometimes he manages to pull his belly in before she lifts his T-shirt, but sometimes she is quicker and the curves are exposed. Either way, she rubs his belly and puts them both in a soothing, hypnotic state of bliss. Why be ashamed when you can have so much pleasure?
Der Freie Mensch – mit KI, 2019
Boisseau & Westermeyer
“Man asks – the machine answers” forms the initial dispositive with which Boisseau & Westermeyer confront their main character ƒ. What happens when the content of information is optimised and access to it is possible and unlimited at all times? Does the algorithm know ƒ better than ƒ knows himself? Can ƒ’s personality still be proven at all? Is the view with which he looks at himself still his own or has it become that of the algorithm? Are his expectations his own or has he already internalised the algorithm? The questions of the Free Man with AI seem to know no bounds, but what happens once everything unknown has been eliminated?
Plant Songs 3: Wegwarte / Blue dandelion, 2021
The starting point of PLANT SONGS are whistled, self-composed melodies for three specific plants. With prayer mill-like movements, the work stands between homage and self-forgetfulness and refers to the limits of human perception and communication in relation to other life forms / plants.
GROSSE VÖGEL, KLEINE VÖGEL, 2022
A flat mesh basket is attached to the corner of a railing. A blackbird hops in from the left and begins to eat the bird food in the basket. The blackbird flies away again and immediately a pigeon appears from the left and a blue tit from the front at the feeding place. The blue tit disappears again after a short time when a crow flies in from the right. In another scene, however, the three dissimilar birds can be seen very close and peaceful together. “Disputes” arise exclusively between two pigeons: one pigeon is repeatedly chased away from the feeder by another, flapping its wings.
healing grounds, 2013
Kim Dotty Hachmann & Ginny Sykes
healing grounds shows the rapid changes in Berlin-Friedrichshain. In a short time, the so-called “brownfields”, free urban green spaces, were replaced by exclusive apartment and residential buildings. The video documents an intervention in public space in which we poetically draw attention to the deficits of urban planning. The artists express their protest against this development with a ceremony in which they prepare the ground of the Freudenberg site for its future purpose. A 10 x 10 metre floor work made of spices is created.
Schwere Waffen (SPz Marder 1A3), 2022
Following on from my childhood memories of model building, mostly World War II fighter aircraft, I looked into the question of what heavy weapons might be. From a well-known kit manufacturer I ordered four that might fit this category and assembled them one by one The assembly of the SPz Marder 1A3 is shown here.
A lonely crab moves to the incessant beat of abstracted classical dance music (Ravel‘s Bolero). The crab becomes a performer, fighting with, courting its own mirror image. It laments its eternal anger.
The Heikegani (Heikeopsis japonica) is a species of crab native to Japan, with a shell that bears a pattern resembling a human face which some believed to be the face of an angry samurai. It is a local legend that these crabs are reincarnations of the Heike warriors defeated at the Battle of Dan-no-ura (close to Kitakyushu) as told in The Tale of the Heike.
Contemplating the distorted pattern on the back of the crab along with his actions, the viewer is left to wonder about what might be anger, what might be evil, all that is „böse“ …, and how it might evolve.
In an installation context the video is presented in conjunction with a poem by Bertold Brecht: Die Maske des Bösen
Duet for flute and violin, 2020
The video ‘Duet for flute and violin’ by Peter Kees shows the destruction of two instruments. A violin and a flute are pressed together one after the other like a car in a scrap press – literally flattened, subjected to a pressure that cannot be escaped. During the collapse, the body of sound emits noises, those last tonal “breaths” – not music, but sounds of destruction. “I made a video in which a violin is pressed, perhaps as a kind of commentary on the treatment of the arts in the Corona period. I was very shocked by how the arts were subsumed between brothels and sauna landscapes.I definitely felt that was a disregard,”, as Peter Kees comments on the video.
Den Opfern künftiger Kriege, 2015
Die Liebe zum Kopffüßler in 3 Akten, 2021
I decided to use a character drawn by small children when they start drawing people. In 3 episodes I tell in simple form what can happen when a childhood does not go well. Originally it was the story of a German artist, Horst Janssen. It can be transferred to many, mostly male characters. When slights are not dealt with (scene 1) the child in the man challenges the conflict (scene 2). It ends in white noise – episode 3.
Mein Tagebuch, 2016-2020
landscape 1, 2015
Bar Stories, 2019
Videos by Roman Pfeffer
Vienna contemporary, 2015, 2:46 min
“The Collector” Roman Pfeffer as he cuts Aldo Giannotti’s work out of the exhibition bunk unannounced at Vienna Contemporary 2015.
At the Vienna Contemporary art fair, Aldo Gianotti draws a chainsaw on the wall of the exhibition bunk and puts the words ‘This drawing can be taken for free if the collector comes with a chainsaw and saws the piece off the wall’ underneath.
Roman Pfeffer takes the instruction seriously and cuts until he is finally stopped….
Waiting, 2011, 3:18 min
The short video “Waiting” from 2011, looped without a recognisable beginning and end, shows the artist as a waiter. He holds two glasses in his hand, two off-screen water hoses continually fill them and cause them to overflow. The static camera demands running images, but the artist stands frozen and imprisoned in the corset of propriety; there is no plot development and no narrative depiction. In “Waiting”, Roman Pfeffer describes an attitude between concentration and compulsion, “the manifestation of a certain moment that results in a standstill – actually a state”. Expectations of art, artist and medium are not fulfilled here, the time-image becomes a governor of denial.
The Last Supper, 2009, 1:20 min
Cooperation project “The Last Supper” with Aldo Giannotti, 2009, he transforms well-known motifs from art and cultural history. With its change of state and reinterpretation, the work becomes a metaphor for questions about change, the passage of time and rhythm.
The motif is reminiscent of Leonardo da Vinci’s “Last Supper”, which is considered a milestone of Renaissance painting due to its depth of perspective. Roman Pfeffer gives a new twist to the seemingly familiar motif of the – still empty – table. After a moment of silence – a sequence of about 30 seconds – movement enters the picture in a flash for a second and at the same time the room is filled with a loud clattering.
13 white plates, 13 glasses, 13 sets of cutlery fall from above onto the table and shatter with a loud noise – then absolute silence returns. As soon as the rocking movement of the last shards has frozen, the image goes out and starts again. The video thematises the meal – suggested by the image of the table – as a ritual act, in which Jesus’ statement “One of you will betray me” symbolically introduces a new twist.
“The Last Supper” is a manifestation of a specific moment that changes the situation and documents a new state. The viewer is taken by surprise, the speed of the action leaves little time to reflect on what is seen, the familiar aspects come together like the shards to form a new image.
Brain Twister (Autogyrocopter), 2015, 2:25 min
In the work, Brain Twister (Autogyrocopter), Pfeffer works with a 17.5-metre-long wooden rowing boat, depriving it of its original function. In the middle of Vienna’s Prater, the artist stands on a pedestal and places the boat on his head. With the help of the wind, the rowing boat slowly turns around its own axis. Through this seemingly simple intervention, the boat is transformed into a propeller.
Even though Pfeffer’s interventions often make a sober and simple impression, the re-functioning of the boat involved a great deal of effort. The result is a whimsical and at the same time beautiful image that releases poetic associations in the viewer.
The Restricted Conference, 2011, 6 min
Cooperation project Roman Pfeffer/Markus Hofer
It was not foreseeable that the current situation of chronic restriction or even cancellation of meetings would give this work a surprising topicality. The first scene of the film shows an empty room. A functional conference table spreads out on a worn wooden floor: lacquered wooden top, two solid metal legs, four openings for cabling, a push-button telephone. That’s all, no chairs. In the back wall, however, a row of sockets: what was negotiated at this table was to be connectable, was to have an effect into the distance. No doubt, important decisions were made here. Finally, both artists step in, quickly changing close-ups accompany their practised hand movements and cast a spell. Calculatingly, they measure. As if it were a show trial or a ritualised execution, the destructive work takes its course. Nothing connects this form of dismantling with the blind aggression of the Viennese actionists Friedrich Achleitner and Gerhard Rühm, who smashed a piano on an open stage in April 1959 amid deafening noise. Roman Pfeffer and Markus Hofer are not concerned with vandalism, but with transformation. We watch this act from the distant proximity of a scientist. Via camera and without sound, the observer status is oriented towards purely visual experience. Sparks of white flames spray as the hacksaw starts. Glue dripping with teeth indicates the turn. At the end, the table has disappeared, but there is no shattered debris in front of us. Instead, we see two identical chairs and the telephone. Only the round openings in their backrests and some unadorned edges betray their genesis from second-hand material and remind us of the fictitious paper worlds of a Thomas Demand.
Untiteld, 2006, 4:18 min
A little story about the idea: He who digs himself a hole….
9. June to 18. August
GOLDT: Ready to Ride the Tiger
Videos 2005-2021 / 17 minutes
portrait of a young woman AT/DE/NZ 2005, Colour, Music: pumice, 3 min.
What is then consummated in harmony with an acoustic guitar is a kind of Doctrine of Affects for the female body, conveyed by means of colors and their vitally switching values to create an organic form. At some point red suddenly breaks out of the grid, threatening to overpower everything else. Remaining the same and changing at the same time. (Marc Ries)
i deeply regret DE/AT 2008, Colour, Voice: Maria Garcia Rojo, 2 min.
The videois about a failed chance of revenge and satisfaction. My video shows the attempt to liberate oneself from the victim’s role by a fantasy of self-empowerment. In other words: After a long, long time someone fights back, while humming the theme song from Rocky.
spot on – spot off: UGANDA DE/A T 2009, Colour, Voice: Maria Garcia Rojo, 5 min.
The world in the living room. One sees the projected freeze frame of a comfortable leather fauteauil next to a side table and newspapers, whilst a female voice talks about the political affairs of the Central African Republic. Coltan, the treasured resouce, which is needed to produce mobile phones and which leads to warlike conflicts in the area, is also discussed. „We can not watch it anymore“, says the voice. Karø Goldt’s work distinguishes itself through its absence of (war) images. (Diagonale 2011)
FEMICIDE DE/USA 2020, Colour, Music: Timothy Shearer, 6 min.
This video is on killing of women by men with close relationships to their victims. It is difficult to do an experimental film on this issue, but the circumstance of the many dead women in Germany is to be spread.
Ready to Ride the Tiger DE/USA 2021, Colour, Music: Timothy Shearer, 1 ½ min.
The show, the trailer was made for, is over. I liked the trailer, now useless. I wrote a little and ironic poem and did the video again….now called ” Riding the Tiger”, which means to lose the “Angst”.
Karø Goldt *1967 lives and works in Berlin.
Goldt has been working with the medium of artistic photography since 1993 and with the medium of experimental cinema since 2001. Goldt’s video works are animated from digital and analog photographs. In the videos she works in close exchange with different musicians.
BAUANGRIFF, 7‘20 min., 2015
The short essay documentary 突击建房 – Construction Assault examines the building and demolition cycles in Beijing’s periphery. It draws upon the phenomena of ‘tuji jianfang’ (construction assault), a local building practice in which houses get built just to be demolished. The film shifts between the vast and continuously changing outskirts of Beijing and the advertising screens of the city centre.
HOME ON DISPLAY, 14 min., 2014
in cooperation with Nina Gschlößl
Home on Display examines the construction of homes for China’s New Rich: a contemplation on the desire and search for an ideal home and the growing commercialisation of this process.
AUFZEICHNUNGEN AUS DER NACHBARSCHAFT, 27 min., 2019
Over the course of 2 years, I film from the window of my flat in Berlin Alt-Treptow the view of our courtyard. I document the construction process of a new residential building and daily scenes amidst Berlin‘s urban development and displacement.
The documentary images are superimposed by a text collage which is inspired by the biography of my neighbour. She was born in the house from which I film in 1964, when Alt-Treptow still belonged to the former GDR.
A filmic narration of urban and bodily conditions.
AUFTRITT UND ABGANG VON MASCHA B., 14 min., 2020
Entrance and Exit of Mascha B. follows a young woman through a digital transformation process.
In the premises of a big architectural visualization company, delicate operations give rise to a promotional image: Mascha B. gets 3D-scanned, processed and retouched digitally. A virtual office room is furnished and inhabited by Mascha B. and digital colleagues. The final rendering process is accompanied by the aria from the 1881 fantastic opera „The Tales of Hoffmann“, in which the hero hopelessly falls in love with the mechanical puppet Olympia.
Laura Engelhardt (born 1988 in Bremen) studied Architecture and Fine Arts in London, Stuttgart and Berlin and is currently completing the postgraduate program in film at the Academy for Media Arts Cologne. Her films examine built and imagined architectures, urban spaces and the fragile relation between the human body and its environment. Her work is shown internationally in exhibitions and festivals, her short film Bauangriff has been awarded several prices. Laura lives and works as a filmmaker and artist in Cologne and Berlin.
Picture: Revenant, Michelle Alperin
Michelle Alperin, 3:51 min, 2013
Revenant is a surrealistic fantasy with strong references to absurd theatre and, in this sense, continues the exploration of a cinematic dream logic. Laura and Max, a married couple, spend a relaxed weekend afternoon at home. When Laura hears noises at the front door, she meets Max and a visitor there – a large, mysterious dog dressed in a black cardigan. Laura seems stunned, partly by the dog itself, partly by Max’s claim that the dog has come to see her. Laura is all the more surprised because Max insists that the dog definitely speaks English. We, the audience, are equally uncertain whether this is true, because we hear the dog both barking and speaking.
Revenant asks a series of questions: Is Max manipulating Laura by bringing this strange dog into her house to challenge her with mind games and unsolvable riddles? If so, why? Or can Laura understand the dog, just like Max and the audience, even though she denies it? If so, why does she deny her acquaintance with the dog? And who is the mysterious and wondrous figure who disturbs the household community on a sleepy afternoon? It’s about an almost equal emotional conflict of three characters and we can’t really understand any of the motives. Revenant works with the means of exaggeration, fantasy and the absurd to reveal the dynamics within the couple’s relationship, while their deeper motives remain in the dark.
“Minority in majority”
bankleer, 4:30 min, 2011
The song of the music video “Minority in Majority” is about the collective departure of the Roma community from the Predlice district of Usti nad Laben, which is completely left to its own decay by the state: The run-down building facades are an expression of poverty and lack of prospects. Life there is marked by the exclusion and ghettoisation of the Roma population. “Minority in majority” opposes a spreading culture of corruption and apathy with a collective departure from these living conditions. This clip was produced in cooperation with Ondřej Darvaš and Maruška Darvašová.
Patrick Borchers, 2:27 min, 2018
Andreas Drewer, 4:22 min, 2018
Light appears at the edge of a video image arranged in a circle four times. The light penetrates the image diffusely at first, then the working autofocus of the camera slowly forms the image of the moon, which wanders through the image section until it dissolves again. An abstract drawing becomes representational and abstract again.
In this video work, the work of the autofocus, the “seeing” of the camera, becomes a metaphorical image of a gradual process of understanding, in the centre a black square as a blind spot.
“debovary in Lichtenberg”
Debovary, 1 min, 2019
“The fragility of holding and letting go”
Dana Engfer, 4:23 min, 2019
Dana Engfer wants to invent mysterious, fragmentary visual worlds with her works of art. Engfer sees herself as a collector of various traces of time, memory and limbo. The video work “The fragility of holding and letting go” deals with the careful handling of strange yet familiar situations and actions. Engfer works with the tension between proximity and distance. The sound connects in a fragmentary way with the images and forces the tension between holding and letting go.
“The way up”
Anna Yermolaeva, 4:14 min, 2008
To the viewer of the video sculpture “The Way Up”, the tangle of rats in the glass cage of an animal market in Mexico City and their constant, futile striving for the top appears as a disturbing, metaphorical view of human behavior and its often seemingly animalistic “struggle for life” or “survival of the fittest”. The lovelessly pasted note Exportacion becomes a metaphorical warning sign. In the oppressive confrontation caused by the mass of animals and the hectic movement on the video, he recognizes his own behavior patterns. (Gaby Gappmayr)
Verena Kyselka, 2:45 min, 2015
El Orgullo is the concept of the male ego in Mexico, externally recognizable by the gestures, facial expressions, clothing and especially shoes. In the forbidden cockfight the EL Orgullo comes to the fore with special expression. The fighting cocks have beside their own pride, the male pride of their owners in the fight. A hopeless, bloody fight in which usually no animal survives.
Maria-Leena Räihälä, 2:29 min, 2016
Experiment with drawing series and different sounds:
Dog Sadie (recordings Zionskirchplatz 2015) / Blackbird (recordings Wollinerstraße 2012)
Love Song on Liberty Crossing
2017, 11 minutes, 16:9, Color, Stereo
The Staten Island Ferry becomes a place of contemplation during my final three months of gestation. Reflecting on pregnancy and oncoming motherhood, my commute through the New York Bay becomes a personal topography of an in-between: between two continents, two cities, two languages, and two states of being – individual and mother. Love Song on Liberty Crossing is a letter to my unborn child that interweaves my own footage with archival material and found sound.
A film by Sophie Hamacher, Sarah Stein Kerr and Tessa Rex
2015, 13 minutes, 16:9, Color, Stereo
A lyrical assembly of sounds and images portrays the experiences of workers traversing New York City on the night bus. In their nocturnal journey, the concepts in Jonathan Crary’s 24/7: Late Capitalism and the Ends of Sleep, are invested with the immediacy of sensation as reflections slipping across dark windows, coins pouring in the till, moaning air brakes, squealing hinges, and the low hum of motors merge with apparitions emerging from the inky blackness of the city.
Appearing only as hazy reflections through weathered windows, the characters reflect, in voices heavy with fatigue, on the work behind or ahead of them. These meandering narratives of solitude and sleeplessness give voice to the lived experience of the 24-hour economy.
2013, 7 minutes, 16:9, Super8 transferred to HD, Color, Stereo
Four young women explore a coastal landscape. Their carefree wanderings are intermittently interrupted by radio voices reiterating the realities of the financial crash. As a celebration of youth and friendship, this short film is also a fragmented meditation on debt and a playful reflection of innocent rebellion.
The soundtrack includes snippets from radio broadcasts, atmospheric recordings and excerpts from a reading of Joseph Conrad’s Karain: A Memory.
Bild: Africa Shafted – Under one roof, Ingrid Martens, 2011
Africa Shafted – Under one roof
Südafrika 2011, 54 min, OmeU, Dokumentarfilm
Regie/Produktion/Kamera/Schnitt: Ingrid Martens
The Weather Underground – USA 2002, 92 minutes Directed by Sam Green and Bill Siegel
In the 1960s and 1970s, the polarization of the political situation in the USA was acutely linked to the Vietnam War and the struggle for civil rights. In view of the seemingly ineffective methods of peaceful protest and resistance, militant groups formed within the protest movement, including the Weather Underground. The film illuminates the history and activities of the Weather Underground. Green and Siegel let activists talk about the past and show the illegal methods used by the FBI in the fight against the revolt. “The Weather Underground” was nominated for an Oscar in 2004 and is only the second film document on the US urban guerrilla.