'With more than 30 years of experience in the palliative care of cancer patients, rarely have I seen such a respectful and on top poetic approach to the topic. The kindness between Sophie and Wolfram is deliberating.' - MM
'After watching LEBENDIG I spent two days at home wondering what I would do, how I want to live the last moments of my life - with cancer being a real thing. Couldn't shake the movie off for a long time.‘ - TB
'Ich fand die Fantasie Sprache in Sophies Kopf so toll und die Tanzszenen, die für mich das Sterben symbolisiert haben. Das Sterben, das mit dem Tod erlischt! Sehr sehr grosses Kino mein Guter. Tausend Dank, dass ich mit dabei sein durfte! Ich hoffe es wird sehr viele Menschen anregen über dieses Thema nachzudenken...' - BF
Short films are often brought down by their terrible editing. Unfettered by a feature-length time frame, they lack the quick progression that fits with a short film’s story space. This is absolutely not true of SHOTKAM MK IV-ORDINARY PEOPLE (Michael Siebert, 2017), which seems to feed off its lackadaisical editing and extension of time. The two main characters pace, bicker, even occasionally nip off a bottle in the kitchen, but their rising excitement over their soon to arrive package (the ShotKam MK IV) makes for an unnerving exhibition of self-justification and cruelty. Constructed as a video interview in progress, the film captures a father-daughter duo as they wait for the arrival of an important package, the ShotKam MK IV image that they have ordered. The ShotKam, it seems, is a contraption with a dual trigger; it can take a picture and shoot bullets simultaneously. As such, it captures a photograph at the moment of impact.
The father and daughter praise the contraption and the artistry of the picture, but the viewer can see that even they don’t entirely believe in what they are talking about. The father vacillates between happy and angry, becoming increasingly furious as their package is further and further delayed. The daughter, on the other hand, appears both in awe of her father, anxious to leave him, and increasingly frustrated with his position as the paterfamilias.
In literature and cinema, there is a long tradition of equating the camera with a gun, from Virginia Woolf to the early days of King Kong to the contemporary global gangster film. And yet, there is something ambitious about throwing off the metaphor and entirely embracing the ideas of the literal voyeur-killer. The characters even feel it; being so used to equating photographic subject with a victim, they are obviously unnerved at being themselves placed before the camera. Eager to forestall his nerves, the father’s boastful art criticism and punchy violence make it difficult to stay with him. It’s the conjoined nervousness, pretentious pleasure, and extended time that make the film so unnerving. The film builds up the tension until it finally shows us the image from the ShotKam IV, and, when we finally see it, we are already complicit in its production.
ShotKam MK IV has been awarded the PRE-SELECTION STATUS or reached the semi finals at these festivals:
<Ich mag deinen Film, hab ihn mir jetzt 2 mal angesehen..
man spürt deine Leidenschaft, du hast starke Protagonisten, ausgeprägte Ästhetik der Bilder, hast tolle Motive gefunden und eine berührende Geschichte erzählt.> Henning S.
<Vor allem die sinnliche Dimension des Films hat mir gut gefallen, wenn die Körper, deren gegenseitige Erkundung oder auch einfach nur das Sein der Formen das Bild beherrscht... Die Bilder sind sich ihrer Geschichte bewusst, die Geschichte ist sich auch ihrer Bilder bewusst. Letzteres interessiert mich nicht weniger als Ersteres... Die Stärke des Films ist, die Unsicherheiten in den Vordergrund zu rücken, die Welt aus den Fugen zu reißen.> Frederik J.
<I thought your film was really thought provoking and obviously very different to the sorts of films I work on! I liked the way it was directed and shot and your use of camera angles. The sequence where the couple were attacked was particularly chilling as the violence was directed against the woman and not the man as I initially expected. I had an instinct that the main attacked was going to attack the girl but it was still shocking when it happened. Also the fact that these weren’t shaven headed thugs but seemingly well dressed and wealthier men and the almost casual nature of their attack added to the sense of unease.
I thought the use of sound and music was good, the fact that you had very little dialogue and the music score was simple and understated. I initially found the pacing a bit slow but then as the story unfolded I could see the point of this, as at first I was trying to work out what the relationship was between the characters.
I hope that your film does well in the festivals, especially in the US as it is dealing with a subject that is very contemporary and relevant for all of us in our multi-racial and multi-cultural world.> Lloyd P.
Thirst for Life has been selected for the 18th NEWPORT BEACH FILM FESTIVAL in April.
Thirst for Life has been nominated for BEST NARRATIVE SHORT at the QUEENS FILM FESTIVAL in March.
Thirst for Life has been awarded the PRÄDIKAT WERTVOLL by the Filmbewertungsstelle Deutsche Film- und Medienbewertung.
Begründung: Die Geschichte um Liebe und Verzweiflung, Hass und Rassismus ist stringent erzählt, gut geschnitten und weiß dramaturgisch zu überzeugen ... ist die Jury überzeugt von der Wichtigkeit des Films und vergibt das Prädikat "wertvoll".
Michael Siebert has been awarded the BEST EDITING AWARD from the 4th INDIAN CINE FESTIVAL in Mumbai.
Thirst for Life has been awarded the DIRECTOR'S AWARD from the ASHEVILLE FILM FESTIVAL. Screenings will be held on October 15th.
With being accepted at the 4th Indian Cine Film Festival in Mumbai Thirst For Life will have been shown at four major Indian film festivals.
Thirst for Life hast been chosen for the OFFICIAL SELECTION of the VENICE FILM WEEK, possible screenings on the 1st and 2nd of September.
Thirst for Life has been nominated for BEST DRAMA SHORT and BEST INTERNATIONAL FILM at the 1st REVOLUTION ME FILM FESTIVAL in Brooklyn, New York, screening 21st of August, 2016.
Matthias Weber and Vera Marie Weber have been nominated for BEST SCORE at the 1st REVOLUTION ME FILM FESTIVAL in Brooklyn, New York, screening 21st of August, 2016.
Jens Winkler has won the Audience Award for BEST CINEMATOGRAPHY at the MEDIAWAVE FESTIVAL Hungary