HOTEL ROCCALBA (10', Austria, 2008)

 

When a football radio show and Verdi play simultaneous, something must be out of place. We are somewhere in Italy. Here, nobody speaks, but still you see a lot of communication. There is no sense of living beings, but still the place is crowded with people. Everything is slow, misplaced and eerie. It's Sunday afternoon in HOTEL ROCCALBA.

Director: JOSEF DABERNIG

With the support of:

 

Cinematography: CHRISTIAN GIESSER

Editing: JOSEF DABERNIG

Sound: MICHAEL PALM

Producer: JOSEF DABERNIG

Production: JOSEF DABERNIG



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Director's contact: josef[dot]dabernig[at]aon[dot]at

 

 

The relationship between presence and absence is one of the common features in JOSEF DABERNIG's films. In WISLA, a football games goes on without any spectators, in WARS we are in a train without passengers, in AUTOMATIC, a passive audience listens a wild acid jazz piece, and the inhabitants of HOTEL ROCCALBA seem to be living deads, occupying a space defined by the human presence. To understand DABERNIG's films, you must connect them with the other art fields that DABERNIG experienced: architecture, design, objects, photography. His works were presented in exhibitions such as: Manifesta 3, Ljubljana in 2000 and Venice Biennale in 2001 and 2003, and his 14 short films were screened in important festivals. (Venice 2011, Locarno 2002, 2008, Rotterdam 2000, 2001 etc.)

 

Locarno 2008 / Toronto 2009 / London 2009 / Oberhausen 2009 / Miami 2009 / Montréal 2009 / Sao Paolo 2009 etc.

 

"HOTEL ROCCALBA is a small wonder, the sort of film that somehow manages to astonish with its precision while at the same time allows enough basic human breathing room to permit limitless discovery.(...) The basic set-up: Dabernig had his family act as non-professional performers in a not-quite-ten-minute film in the run-down titular inn in the Italian Alps. (...) But what makes Hotel Roccalba so remarkable is Dabernig's unerring sense of composition, editing and blocking. At first, we don't know what we're seeing, so we don't realize that these scenes are staged. When that's the case, Dabernig's ability to break a single scene into multiple fragments -- long, medium, and medium-CU shots, 90° and 45° angles, overhead shots -- all within seconds. (...) What really defines Hotel Roccalba is a bizarre, thrilling sense of the disorganized, random stuff of life being invisibly, imperceptibly choreographed, a God-like aspect that is gradually revealed, becoming a kind of Cubist hysteria." (Michael Sicinski)

 

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