Editing Gstettensaga
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Well, you expect high weirdness from a writer-director like Johannes Grenzfurthner, who fronts monochrom and is known for the freakiest shenanigans and the most thorough academic theories – and you get a lovin’ spoonful of all of it delivered through this production. | Well, you expect high weirdness from a writer-director like Johannes Grenzfurthner, who fronts monochrom and is known for the freakiest shenanigans and the most thorough academic theories – and you get a lovin’ spoonful of all of it delivered through this production. | ||
Decades after the disastrous “Google Wars,” a shady media tycoon (with a weakness for Boris Vallejo) hires a pestilent journalist and an over-enthusiastic technician to do the first live broadcast | Decades after the disastrous “Google Wars,” a shady media tycoon (with a weakness for Boris Vallejo) hires a pestilent journalist and an over-enthusiastic technician to do the first live broadcast on (post)-post-war history, using the emerging medium of “Tele-O-Vision.” Who is to be interviewed? Echsenfriedl, a strange “pioneer of contraptions” who lives hidden in the hinterland (Austrian slang: “Gstetten”) of the Alpine fringes. It’s a quest to kick-start the future’s future. Will it succeed? Depends on how you define “success.” | ||
“Die Gstettensaga” was shot in less than a week for 5000 Euros (quite a metric!), so it is clearly a super-low-budget endeavor; but it is neither trashy nor campy, except when it wants to be trashy or campy. The film is packed with nuggets of weirdness and wisdom, and the translator of the English subtitles cannot be praised highly enough. | “Die Gstettensaga” was shot in less than a week for 5000 Euros (quite a metric!), so it is clearly a super-low-budget endeavor; but it is neither trashy nor campy, except when it wants to be trashy or campy. The film is packed with nuggets of weirdness and wisdom, and the translator of the English subtitles cannot be praised highly enough. | ||