Primary Colours

"The film's title takes into account meanings and implication of the word 'chamber', as well as of the heart, intimate music, darkness, room, camera, prison, gun part...both empty and loaded. CHAMBER provided my conversion from painter to filmmaker." -JB

Deep in an ocean facility, Aryanna, must face the unknown, as drips from water-tight air vents and scratches from within empty cells drive her to the brink of madness.

A sensitive study on human relationships and the passage of time. Through the lens of directing and editing, the film observes the nuances of daily life and the resilience of connections.

Mixing visual, sound, and storytelling elements from different eras and regions, "Shadowplay" depicts a world filled with dysfunctional work culture through an unorthodox conflict between an office worker and her shadow, and seeks a hidden connection between the dominance of corporatism and the illusion of self-importance.

The Eye explores silent landscapes where nature and absence coexist. Between the memory of places and resilience in the face of time, the film oscillates between beauty and existential vertigo, capturing what persists and what fades.

Time passes but nothing changes. Opportunities are missed one after the other. Until finally there's a way out.

Le Gigot

A perspective on everyday things.

An introverted girl struggles to form connections through a strange social media site.

Experimental film using fireworks, often superimposed and in soft focus, printed in negative form with a black image on a white background. Plucked piano strings reversed xylophone and cymbal with an electronic vibrato effect form the background sound effects.

Lynsey Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space.

A debt-settlement meeting turns into a surreal nightmare of ego, sexism, and chaos.

Music by Byron Westbrook, 16mm film by Paul Clipson.

The parents of an adult infant named "Child", played by Todd Haynes, attempt to expel him from their home, by casting magical spell seen in a television documentary about Malaysian rites of passage.

Jan receives the group patch at the campfire, Herkules brews up some tea in the workshop and Sidney gets a mohawk haircut done by his father. The film shows fragments from an Oberhausen subculture in which symbols and practices of the outlaw motorbiker scene are transferred to cycling.

A girl and an older man discuss the nature of reality while doing chores on a pig farm.

History as immersion and dispersion in the fragments of the past, a visionary journey accompanied by the voice of Patty Pravo. Presented at the Taormina Festival '97.

"Light from the Mesa" from Barn Owl's album Ancestral Star.

A boy with a broken heart is obsessed with a dreams, so he decides to embark on a journey that eventually reveals the meaning of life to him.

For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).