Kacper
Die Kamera begleitet einen etwa zehnjährigen Buben beim Flanieren durch
verschiedene Länder und Städte. Dazu besingt Arthur Russel mit traurig-gebrochener Stimme „Home“ und dessen Abwesenheit. Stimmungsbilder
aus Tokyo, Brasilien oder den USA zeigen die Leichtigkeit des Kindes beim Durchstreifen dieser Orte und gleichzeitig eine
beinahe existentielle Einsamkeit. Zeichnungen in einem Buch stehen am Beginn und am Ende dieser Szenen. Migrationsgeschichte
und Roadmovie fallen hier in einer Erzählung über Entwurzelung und Aufbruch zusammen. (Claudia Slanar)
The camera accompanies a boy of about ten strolling through various countries and cities. Along with this, Arthur Russel sings,
with a sad, broken voice, about “home” and its absence. Atmospheric images from Tokyo, Brazil, or the US show the lightness
of the child roaming through these places and an almost existential loneliness at the same time. Drawings in a book are at
the beginning and the end of these scenes. Migration history and road movie merge into a story about being uprooted and setting
out. (Claudia Slanar)
Director's Biography
ANKA SASNAL, born in 1973 in Tarnów in Poland, studied
Polish literature and gender studies. As a screenwriter, editor, and filmmaker, she lives in Kraków together with Wilhelm
Sasnal, who was also born in Tarnów in 1972 and studied architecture and painting. WILHELM SASNAL attracted international
attention as a visual artist with a series of solo and group exhibitions in renowned international galleries and art institutions
with paintings, comic books, drawings, photographs, and videos. From the first joint film project onwards, significant characteristics
of their artistic collaboration are already visible: the intensive focus on language, texts, and literary models, which they
transform into an image language that suits them. An explicit political stance can be noted in their films – thematically
Anka and Wilhelm Sasnal circle around the current state of Polish society, rising xenophobia, the relationship of Polish society
to the Catholic church, and especially the recent Polish past during the Second World War. A dystopian worldview, although
not so much a pessimistic one – as they say themselves – may certainly be attributed to their work, along with an undisguised
interest in the “dark” side of human beings. Anka and Wilhelm Sasnal are no strangers to the festival audience in Linz, as
they have already been represented in the festival program twice in the past. In 2012, they won the main prize with It Looks
Pretty from a Distance, which premiered in Rotterdam, and then returned with Parasite in 2014.
// Films at CROSSING EUROPE Film Festival 2017
// Co-directed films: Słońce, to słońce mnie oślepiło (The Sun, the Sun Blinded Me, 2016), Huba (Parasite, 2014; CE’14), Aleksander (2013, doc), Z daleka widok jest piękny (It Looks Pretty from a Distance, 2011; CE’12), Świniopas (Swineherd, 2008)
// Films by Wilhelm Sasnal: Afternoon of a Faun (2015, short), Columbus (2014, short), Inhuman Hunger (2014, short), Kacper (2010, short), Europa (2007, short), Brazil (2005, short), Marfa (2005, short)
// Films at CROSSING EUROPE Film Festival 2017
// Co-directed films: Słońce, to słońce mnie oślepiło (The Sun, the Sun Blinded Me, 2016), Huba (Parasite, 2014; CE’14), Aleksander (2013, doc), Z daleka widok jest piękny (It Looks Pretty from a Distance, 2011; CE’12), Świniopas (Swineherd, 2008)
// Films by Wilhelm Sasnal: Afternoon of a Faun (2015, short), Columbus (2014, short), Inhuman Hunger (2014, short), Kacper (2010, short), Europa (2007, short), Brazil (2005, short), Marfa (2005, short)
Tribute 2017
Wilhelm
Sasnal
Polen / Deutschland
2010
color
12 Minuten
OmeU
Drehbuch
Wilhelm Sasnal
Kamera
Wilhelm Sasnal
Schnitt Wilhelm
Sasnal
Gemeinsam mit / Together with
INHUMAN HUNGER
COLUMBUS
AFTERNOON OF A FAUN
INHUMAN HUNGER
COLUMBUS
AFTERNOON OF A FAUN