Film Archive

Robolove

Documentary Film
Austria
2019
76 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Michael Kitzberger, Wolfgang Widerhofer, Markus Glaser, Nikolaus Geyrhalter
Maria Arlamovsky
Andreas Hamza, Boris Hauf
Sebastian Arlamovsky
Emily Artmann, Maria Arlamovsky, Alexander Gugitscher, Sebastian Arlamovsky
Maria Arlamovsky
Andreas Hamza
A few decades ago robots still looked like moving toolboxes. This has changed radically. Today’s humanoids not only look like people, they can roll their eyes and wink, too. In this film, they come mainly from Japan, Korea and the U.S. Ishiguro Hiroshi is a pioneer in the construction of such artificial humans. He even built himself a twin. But most of these new creatures are female and, in line with their creators’ fantasies, endowed with the attributes desired in a patriarchal society: “It’s going to be a woman, so the smile is important,” one of the developers instructs his assistant. Almost all the androids have a dollface bearing a none-too-intelligent and submissive expression, saucer eyes and a slightly opened mouth. Only at the Terasem company in Vermont a talking woman’s bust of more mature age called “BINA 48” is supposed to mimic human behaviour emotionally, too.

It’s not surprising that the developers attribute all kinds of world-improving qualities to their creatures and spurn potential criticism in advance. Or are human beings just machines anyway, as Ishiguro claims? This closely observing film without comments by Maria Arlamovsky offers deep insights into this Brave New World, allowing us to form our own judgement.

Silvia Hallensleben



Awarded with the Gedanken Aufschluss Prize.

The Royal Train

Documentary Film
Austria,
Romania
2019
92 minutes
subtitles: 
English
German

Credits DOK Leipzig Logo

Johannes Rosenberger, Constantin Wulff, Johannes Holzhausen (Navigator Film), Ada Solomon, Diana Păroiu (HiFilm)
Johannes Holzhausen
Joerg Burger
Dieter Pichler
Johannes Holzhausen, Constantin Wulff
Andreas Hamza, Vlad Voinescu
A lost monarchy is represented by a princess whose steadfast mission is to restore to her dynasty real political and economic responsibility in contemporary Romania. With great energy, sometimes funny slips, too, but mostly with the appropriate royalist seriousness, Princess Margareta of Romania plays her role as the subject and object of her own campaign. The performance is of the tale of new wine in old wineskins. Surrounded by her courtly entourage, Margareta travels through “her” country in the same old royal train, on the same royal route, in which her father, King Michael the First already sought contact with his subjects. It goes without saying that the red carpet as the most obvious symbol of monarchist grandeur must be immaculate even at the tiniest stop – though this isn’t always achieved perfectly.

Director Johannes Holzhausen observes the bustle around this backwards journey with a distanced and wide-eyed curiosity. After all, it reveals a telling (a-)simultaneity of the ancient k.u.k. ceremonial and current marketing visions.

Ralph Eue