FRANCES SCHOLZ

The film DIE WILDERIN VOM MONTAFON left me with powerful, lasting images. They crop up again and again. Evamaria Schaller understood in a marvellous way how to make film her very own. Her analogue pictures cover a wide range. From existential to fleeting moments in which even terse banalities are given enough room to unfold their visual power. Magical moments, impressive but not over-staged, unfold, places like islands which make space around themselves which repeatedly release something new in me. They become fragmentary elements of uncounted tales – also ones about art.

The forms of expression of moving images have changed, have expanded, have remained the same. The Videonale, in particular the last one, VIDEONALE.14, knows how to deal with this, integrates the most diverse approaches and presents them in an impressive, constructive combination. Videonale has the ability to distinguish between what is merely keeping an outdated system alive with innovation, and what is a genuine step forward into new territory.