Die “Besten Musikfilme 2016”
Mali Blues & Girl Power gewinnen den Preis “UNERHÖRT! Beste Musikfilme 2016”
UNERHÖRT! Bester Musikfilm 2015
UNERHÖRT! Bester Musikfilm 2014
And the winner is:
ELEKTRO MOSKVA
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14 films during 3 days in 2 venues - the festival is over.
As usual, this year, too, the best music film of the program received an award.

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the guy in the corporate identity t-shirt in the background
is UNERHÖRT!'s program coordinator Stefan Pethke;
otherwise from left to right:
Gerd Roscher, Juliane Reil, Vanessa Weber



That's what the UNERHÖRT!-jury (of three) had to say:

"We were taken on an inspiring journey by eleven films, eleven films which took us to different countries, eras and musical genres.

One of these films begins over a century ago by tracing back the history of Russian experimental electronics to the present. ELEKTRO MOSKVA is a story of irrepressible creativity, challenged by fierce counteraction: technologies which were initiated to develop electronic instruments were forced into police and military applicability by omnipotent state agents, before being reconquered for a creative use. Today, a young subculture in the electronic music scene of Russia rediscovers these technical achievements, reconnects with the subversive aural esthetics of their spiritual fathers and pushes them towards the future.

With ELEKTRO MOSKVA Elena Tikhonova and Dominik Spritzendorfer present to us a masterfully interwoven composition of archival footage and interviews with musicians, inventors, DIY'ers of sound, maniacs and geniuses, held together by an unorthodox voice-over commentary. Social conditions and political developments are reflected through the prism of music culture. In the same time, soviet film history is evoked. A remarkable work, the jury finds, and so it dedicates the award for the best film of the UNERHÖRT! 2014 festival to the filmmakers of ELEKTRO MOSKVA.

In addition to this extraordinary film we would also like to mention the tour doc about the Hamburg-based Punkrockers "Slime". Told from the perspective of their long-time roadie, the film 1,7 (in words: ONE POINT SEVEN) depicts without glorification the tour routine of an aging band. This cinematic tour diary impressed us particularily with the laconic tone of its narrator.

If there was an award for an upcoming director, the jury would have given it to the young filmmaker Marietta Kesting who uses highly original ways in her film CASSY - MEDITATIONS ON THE DANCEFLOOR, in order to draw the moody portrayal of an austrian Club-DJ and her microcosm.

Finally, the jury enjoyed the diversity of the program. One beautiful example for the jurors is the film MONDE by Ursula Mihelic and Katharina Klement, which effectively takes sound serious as a creative tool."
UNERHÖRT! Bester Musikfilm 2013
SAMPLE: NOT FOR SALE
Best Music Film 2013
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The UNERHÖRT! 2013-Jury and the award winner

from left to right: media education expert Claudia Lemke, composer/sounddesigner Joachim Rudolph, award winner Mike Redman, filmmaker/editor Sandra Trostel
Photo: Faranu



This is UNERHÖRT! 2013 jury’s verdict:

During the last two days, we had the privilege to see nine films, each very different from the other. All those films were clearly marked by a passion for their respective object of investigation, by a pathos in the best sense of the word, a caring, a ‚being into it’, a refusal to avert one’s gaze.

What happens with passionate action, when a desire, usually located in the realm of the imaginary, as the desire of Tom Spicer’s to meet with his idol Lars Ullrich from Metallica, is forced into reality, is shown by Kate and William Spicer’s MISSION TO LARS.
In BUEBE GÖ’Z TANZ (The Boys Go Dancing) by Steve Walker a crash on the road from inspiration to realisation occurs as well.
Quotes from other films on the topic of ideas and the notional in relation to the things out there keep echoing in: „You can think as much as you want,“ says one band member from Ines Pletikos’ film HOW WE ENTERED EUROPE — THE SexA CASE, „you won’t materialize a solution by sheer thinking.“ This line can be heard near the end of the film, which depicts in a very impressive manner the band SexA’s experience, moving as a collective from Zagreb to Amsterdam and getting entangled in global and local events, i.e. the Balkan wars and the Dutch alternative scene. The way the band members reflect the complexities of their existence and their refusal of the attempts of others to outsmart involvement in reality by manoevering ideas is really remarkable.
Viola Rusche’s and Hauke Harder’s film about Alvin Lucier NO IDEAS BUT IN THINGS the topic of the relationship between the Heaven of ideas and the Earth of the tangible inscribes itself already in its title. Lucier advises us to start from matter and its expressivity. The composer repudiates the romantic image of the artist-as-a-genius who expresses himself. It is precisely this concept of the artist expressing himself that leads to the quest of ‚meaning’ of an artwork outside of itself, f.ex. in the biography or even in the psyche of the artist himself. The film clearly demonstrates that the rejection of the search for meaning is not the end of art mediation.
Andreas Steinkogler’s WELCOME TO THE MACHINE deals with the musician’s dream to be in the limelight, and with the ‚12 commandments’ to respect on the road to success.
Far from any music ex machina, Ulrike Koch, with REGILAUL — SONGS OF THE ANCIENT SEA, looks for musical bridges between Heaven and Earth.
Music from ‚below’ is what NO TRUST. NO FEAR. TO ASK FOR NOTHING from Peter Rippl is all about, while introducing to the genre of Blatnjak, which are Russian gangster songs.
Far away from Eastern European traditions, in Gjorgji Janevski’s IF NOBODY IS PLAYING, the members of a young Macedonian band try to find a definition of their own of what ‚expressing’ could possibly mean, and what the spoken word has got to do with it.

The spoken word, quotes, found footage and its expressivity are equally central elements in Mike Redman’s SAMPLE: NOT FOR SALE. In this film, the passionate being-into-it, this specific pathos is really mindblowing. This guy loves this stuff. For seven years, he works on that project, not even caring about commercialisation. That is pathos in the best sense. One can literally see him digging deep in the crates of thousands of interview and film clips, like a maniac, sorting things, putting them in an order, mixing them. The result is precisely not the execution of the material by simplifying concepts, but a dazzling representation of sampling in HipHop. In a gesture of making his obeisance to music history as a whole, Redman creates a pull emanating from the material itself.
The award for the Best Music Film at UNERHÖRT! 2013 goes to a film which immerses in his subject with great passion. It treats a topic that doesn’t stop to be fresh, even after 2000 years of cultural history: Sampling.
What impressed us the most in SAMPLE: NOT FOR SALE was the accuracy and love with which Redman has searched, found and composed each single element of his film. The film itself, therefore, becomes an audio-visual piece of sampling. Form and content: Here they find eachother. We were there and had fun. Brilliant!

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from left to right: regular, Mike Redman, UNERHÖRT!-director Ralf Schulze,
jury member Claudia Lemke
UNERHÖRT! Bester Musikfilm 2012
UNERHÖRT! Best Music Film 2012
The best of eleven films
The price "UNERHÖRT! Best Music Film 2012" will be presented on Sunday, May 13th at 9.00pm at the B-Movie. The winners will be notified in advance.

1. UNERHÖRT! BESTE MUSIC FILM 2012
The newly recruited jury of experts will select their favourite from the pre-selection of eleven films from the last two years. We want to honour the director who created the best, most interesting, daring, current music film, independent of format or media. The pre-selection is done by the organisers of the festival, however we are always interested in receiving films we have not seen yet. This year the prize is again provided by AKRA GmbH, Hamburg. Conditions:
The films need to have been created between 2009 and 2012 with a minimum duration of 20 minutes and must have music as central topic.