Iranium

HD 30 min, Austria / Iran 2017

In the age of „fake“ news and media manipulation this film about Iran, America’s favourite enemy, offers a view of the country through a lense of fact and fiction. The film’s main method is to de-construct „reality“ and to subvert the principles of documentary film-making. At the same time, through the use of contradictory voice-over commentary and variously connotated visual material, it also contains facts which offer the viewer a glimpse of Iran’s home affairs and the state’s inconsistencies.

Iranium may be seen as the sequel to my film Empire of Evil, but it contains a broader approach for (de-)constructing reality and questioning the claim to truth-telling in documentary films.

 

 

The film is currently waiting for its theatrical release in film festivals…

 

Empire of Evil

HD 11 min, Austria / Iran 2016

 

Empire of Evil discusses the Western view of a non-Western society. It does so by way of a documentary about the partial

and exclusively negative political representation of Iran in the West. The film critically interrogates the medium of the

documentary film and its claim to truth. This is achieved by juxtaposing and contrasting documentary footage shot secretly

in Iran with the image of the country created in Western media.

 

Apnoe

HD and DCP 10min, © Harald Hund 2011

 

On the face of it Apnoe describes the day- to-day life of an ‚ordinary‘ family, subject, however, to an altered gravita-

tional force. The film shows the vicissitudes that everyday existence has in store for the family and the lengths they

have to go to to maintain the semblance of an orderly life. Defying all the odds, the daughter refuses to be brought

low by the circumstances. She manages to sneak out of the house at night and to pursue her secret pleasures in slow

motion.

 

 

In the Woods

HD 3 min, © Harald Hund 2013

 

A study in illusion and fear. Walking through a forest a man encounters an enigmatic figure which appears as a fig-

ment of his imagination. In the end, the man himself might be an illusion.

 

 

All People is Plastic

HD and 35 mm film, 12 min, © Harald Hund 2005

 

A retro-futuristic film that builds on the contents of Science fiction films, but deviates from the genre in that it does

not deliver a design for the future. Taking the Sci-Fi genre ad absurdum, existing elements (e.g. modernist architec-

ture of the more recent past) were used with which to construct a Utopian-looking city. As in all found footage films,

All People is Plastic is based exclusively on existing material and the product of research. In contrast to narrative film,

identification with a protagonist is rendered impossible by people who all look the same and behave identically.

The film uses content and aesthetic means to address the impossibility of Utopias.

 

 

My Favourite Actors 2

HD 1 min, © Harald Hund 2007

 

In My Favourite Actors (1 und 2) übernehmen Mainstream-Hollywood-Schauspieler Rollen, die ihnen üblicherweise

nicht zugeschrieben werden. Sie werden zu Opfern bizarrer Tötungsmethoden in einem 2D-animierten Slasherfilm.

 

 

 

My Favourite Actors 1

HD 1:30 min, © Harald Hund 2006

In My Favourite Actors (1 und 2) übernehmen Mainstream-Hollywood-Schauspieler Rollen, die ihnen üblicherweise

nicht zugeschrieben werden. Sie werden zu Opfern bizarrer Tötungsmethoden in einem 2D-animierten Slasherfilm.

 

 

Holidays / Urlaub

DV PAL 3min, © Harald Hund 2000

Urlaub (Holidays) dates back to the year 2000, when the far-right FPO party managed to enter into a coalition go-

vernment with the Conservatives in Austria. The FPO’s election campaign was marked by a racist and xenophobic

discourseand a particular hostility against Eastern European countries who wished to join the EU.

The skeleton in the film is a symbol for nationalism, a dead concept in the eyes of the author. The UFOs emanating

froma Bulgarian monument (for Soviet cosmonauts) stand for Eastern European immigrants invading Austria.

In the video the negative stereotyping of aliens (always bad, ugly, destructive and illegally intruding) is ironically

confirmed. The destruction of heritage buildings stands for the exaggerated fears of the nationalist that ‚evil‘ immi-

grants will invariablyundermine a country’s culture, ultimately changing it for the worse.