Cinematic poems, awe-inspiring journeys from west to east, from Moscow to India via Tallinn, Orsk Novotroisk, Uzbekistan, Afghanistan and Inner Mongolia, moments of life snatched from time to invest the moment... Siegfrieds two films, Kinogamma Part: I East and Kinogamma Part II: Far East, are deliberately left open to interpretation. Like Baudelaires imaginary travels, these films are tinged with spleen, melancholy, and grief, but in there are also instances of affection and gentleness: the odd glance, a hand caressing a naked body. In this diptych, the man behind the camera stands in for the lens, establishing an organic rapport with his subjects. A woman clasps her child to her heart a few seconds after giving birth, a couple make love, a dancer endlessly repeats a sequence of steps, a drunken man sprawls on the ground, yelling. Siegfried creates fiction through the use of real images, taken on the wing, and rigorous editing. Working on the micro as well as macro level, he films anonymous individuals, workers in a factory, circus performers, parading veterans. He captures expressions, movements, people who brush against one another without seeing each other, or, in contrast, those who stare curiously at the camera. A nomad, Siegfried tells an age-old story, that of a man observing his peers. Capturing colours from icy blue to orange, he takes us on a journey of discovery of places, people, sounds. The music, which he composed himself, is conducive to daydreaming. Its rhythms take the viewer into another dimension, where the mind can wander. Kinogamma Part I: East and Kinogamma Part II: Far East together form a cinematically intense experience, since the two films are not just to be viewed, they are to be felt.
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