We tell stories to children so that they fall asleep - to adults so that they wake up.

Our style is semi-documentary when it comes to showcasing projects, references, and solutions in the right light. The formats that emerge from this are not just about representation, but also about research, where we often uncover previously unexplored, informal knowledge.

We work in small, agile teams to keep the effort manageable and affordable. Classic image videos are too polished for us. Instead, we try to capture the spirit that drives every successful project. The resulting images require little makeup. They speak for themselves.

We have worked for clients such as Microsoft, Discovery Channel and UC4 in Europe and the USA.

Here is a small selection:

“To tell a documentary story means programmatically chasing after one’s own staging and constantly being overtaken by reality. One sets guardrails, builds milestones that one intends to pass, but unlike in a feature film, the story remains a construction site. Best until the end.

Coming soon: WILD IN THE MOUNTAINS. MEDITATIONS ON HUNTING (2023)
Hunting is one of those things. Only insiders or outsiders seem to know about it. Accordingly, it is usually romanticized (in the media) or dismissed as murderous. And so, for centuries, ideology has obscured the view of the essential: The mysterious bond that connects the hunter with nature and is torn apart again and again by the shot. WILD IN THE MOUNTAINS is a quiet and sensitive meditation on killing and our relationship with nature, which follows the heels of the hunter as an exemplary figure. A film about the “sweat” of the hunter and the sweat/blood of the game. A search for traces off the beaten track and positions. A film that wants to seduce to see and to hear.

EVERYMAN ON JOURNEY. THE WORLD SURVEY OF A HOMELESS (2021) was such a film. It does not understand itself as a historical approach to the legendary theater maker, but as a positioning of the Syrian author, which repeatedly ignites itself at the person of Max Reinhardt and his castle – this spectacularly artificial and artistic place. The detour through the other marks a search for traces that repeatedly throw the author back onto what constitutes his identity and externally imposed fixations. Max Reinhardt, the absent and always foreigner, thus becomes part of a puzzle in which ever new perspectives are revealed and even some passages from JEDERMANN can be re-read as a biographical commentary on the upstart Reinhardt. The nomination in MONTREAL is an important first feedback from the international community.

SHADOWS OF LIGHT. THE OTHERWORLDS OF BARTHOLOMÄUS RESCH (2020) was also such a film. And yet quite different, because I was only brought into the film project late. At a point where everything had already been filmed. Walter Fanninger created images of great quality – about a unique heavy metal festival in the mountains of Austria and its opaque master of ceremonies, Bartholomäus Resch. What was missing was a narrative gravitational field that holds the images together even without a voice-over. By discovering the underlying plot lines and a new working title, everything comes together magically and without meta-explanation. The rest of the editing process is playful and surprisingly reveals a secret structure. The awards in Paris as BEST EUROPEAN INDEPENDENT DOCUMENTARY 2020 and in AUSTIN/TEXAS at the ARTHOUSE FESTIVAL were a wonderful addition.

Here are the trailers for the films.”