Kurt Kren Movies

Kren in New Hampshire, New England. Together with friends he lived from the demolition of wooden houses and sale of the wood. Kren was the "nail...

"This film is an attempt in focusing. I visited Kurt Kren in Vienna. (Kurt Kren is considered to be the father of the European underground film.)...

A commission by Austrian TV station ORF documenting the anniversary celebration for Kunststücke.

Kurt Kren filmed pieces of feature films in the cinema without looking through the viewfinder. The missing sexual climax from the cinema was added by...

Kren shows the cinema (mentioned in the title) during and after film presentations. He uses single-frame and time exposures 5 to 30 seconds long....

The film uses slides - photographic planes - which show different surfaces and finishes of a wall, which have been erroded by time. Kren stacks the...

A homage to the Austrian experimental filmmaker Kurt Kren, his two films "1000 Years of Cinema" and "Snapspots" and his way of working; and that with...

A short film by Kurt Kren.

Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele-vision”. The static...

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a...

The making of pictures becomes the central issue in itself in that, with an analytical single-picture procedure, picture-taking tourists on Vienna's...

Sinus Beta is almost a sort of teaching film about bodily behavior in different situations. The film also produces, through the heterogenic...

A silent short film by Kurt Kren.

Kurt Kren films an anti-war poster in extreme close-up moves to subvert the quick responses of viewers to its loaded imagery.

Kren’s last film to include any direct reference to Otto Muehl is 12/66: Cosinus Alpha, a 10-minute film that completes a cycle of elaborate...

Kurt Kren short

Almost as if entering the picture frame by chance, mute characters lean out of Viennese apartment windows, simply to have a look.

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a...

"It became easier to understand Kren's method of approaching film when he illustrated his matter-of-factness with a story: he was asked to shoot and...

The third of the "bad home movies". Kren moved, along with his Thunderbird from New England in winter to the warmth of Texas. Part of the film was...