°MAXIMILIAN MOLL° Berlin

<body> <p><a href="http://www.maximilianmoll.net" target="_blank">maximilianmoll</a> <a href="http://www.maxxximilian.com" target="_blank">maximilian moll</a> <a href="http://www.momentumfilm.com" target="_blank">momentum film berlin</a> <a href="http://www.skaparinn.com" target="_blank">skaparinn</a> <a href="http://www.mmoll.com" target="_blank">mmoll.com</a> <a href="http://www.mmoll.de" target="_blank">mmoll.de</a></p> <p>Maximilian Moll<br /> Universität der Künste, Diplom-Kommunikationswirt<br /> Tisch School of the Arts, New York University, Film and TV <br /> Maximilian Moll<br /> Bülowstrasse 90<br /> 10783 Berlin, Germany<br /> tel: 030-26 26 26 1<br /> fax: 030-26 26 27 1<br /> </p> <p>Career<br /> 15 years of media project management and producing<br /> 4 years experience in Los Angeles/ USA<br /> </p> <p>Finances<br /> € 1.2 mio project value (highest)<br /> € 2.2 mio project value (year)<br /> </p> <p>Projects<br /> 30 projects handled in one year<br /> ca. 200 projects handled in total<br /> </p> <p>Employees<br /> 9 fulltime (year)<br /> 80 freelancers (month) <br /> </p> <p>Clients<br /> TV stations<br /> distribution companies<br /> advertising agencies<br /> cultural institutions<br /> record companies<br /> </p> <p>free-lance production manager<br /> Film DeLuxe, Berlin<br /> Trigger Happy Productions, Berlin<br /> DORO Film, Berlin<br /> 3000 Films, Berlin<br /> </p> <p>free-lance TV producer<br /> Scholz & Friends Berlin<br /> Publicis Berlin<br /> </p> <p>executive producer<br /> Hope & Glory Commercials, Berlin 2000<br /> </p> <p>documentary production<br /> ‘The Dark Side of Daren’, 60 Min, 35mm, Int. Filmfestspiele Berlin 2001 ‘Cycles of Porn’ dir: Jochen Hick, Int. Filmfestspiele Berlin 2005 ‘Gerda Taschner’ portrait for arte TV TV Reports for arte, Deutsche Welle TV, Vox, RTL, Pro7, Tele 5, ITV / SuperChannel </p> <p>feature film development<br /> ‘Tattoo’ European Script Fund London, Filmboard Berlin/ Brandenburg 1995 ‘Take Out’ starring Elke Sommer, Allegra Curtis, Susan Tyrrell, Inday Ba, LA 1999 </p> <p>TV producer advertising<br /> Rempen& Partner, Düsseldorf 1995 D’Arcy, Masius, Benton & Bowles, Frankfurt/M 1993 Borsch, Stengel & Partner, Frankfurt/M 1992 </p> <p>producer of short films<br /> ‘The Fly’ (1994) dir: Laurent Holzamer, ‘Tour d’Amour’ (1988) dir: Veit Helmer and ‘Thanksgiving’ (1989) dir: Lynne Loo</p> <p>production assistant for TV stations ZDF and SFB (game shows, talk shows) 1986 production assistant on ‘End of the Night’, feature film dir: Keith McNally, NYC 1989 </p> <p>director and producer:<br /> ‘Smuggler’ starring Hendrik Martz, Int. Filmfestspiele Berlin 1998 ‘We forget’ starring Tony Rizzi, Int. Filmfestspiele Berlin 1996 ‘Once daily’ starring Thomas Grube, Int. Filmfestspiele Berlin 1993 ‘Sisyphos Love’ starring Sarah-Jane Brumm, Int. Filmfestspiele Berlin 1991</p> <p>MAXIMILIAN MOLL<br /> Regisseur von 4 Kurzfilmen und einem langen Dokumentarfilm, die alle auf den Internationalen Filmfestspielen Berlin Premiere hatten. Er ist mit seinem ersten Spielfilm in Endfertigung. Er wurde in Köln geboren und lebt in Berlin. </p> <p>2005 Kinospielfilm "TripS (AT)" gedreht in Berlin, Litauen, Finnland und St. Petersburg mit Sarah Becker und Michael Dudek in den Hauptrollen 2004 ‘Ein°sicht’ Multiprojektionsinstallationen an vier historischen Orten in Berlin mit Unterstützung des Hauptstadtkulturfonds 2002 ‘Heile Welt’ Multiprojektionsvideoinstallation Weissenhofsiedlung Stuttgart mit Mitteln der Medien- und Filmgesellschaft Baden-Württemberg ‘Styx’, 2’, and ‘Take Out’, 2’30’’, bei ‘Zebra – International Poetry Film Festival’ Berlin ‘Steady Flaunt, 5’10’’, beim ‘Kasseler Dokumentarfilm- und Videofest’ 2001 Autor ‘The Dark Side of Daren’, Dokumentarfilm, 60’, Portrait, 35mm, Premiere Int. Filmfestspiele Berlin 2001 Galerie Max Hetzler, ‘Objects in the rear view mirror...’ POST gallery, Los Angeles ‘Transitions’ 2000 Lehrauftrag am Otis College of Art and Design, Los Angeles. Film Praktikum am Digital Media Dept. 1997 SMUGGLER’ , 3’50”, 35mm, Prädikat ‘wertvoll’ - Int. Filmfestspiele Berlin 1998, Bilbao 1998- Starring Hendrik Martz seit 1996 Entwicklung von Drehbüchern ‘Tattoo’ Spielfilm Filmboard Berlin, European Script Fund ‘Jolts’ Spielfilm mit Elke Sommer, Allegra Curtis, Susan Tyrrell ‘Trio’ Coming-of-Age- Spielfilm ‘Triade’ Thriller Fernsehfilm 1995 ‘We forget’, 75’’, 35mm - Int. Filmfestspiele Berlin 1996, San Francisco, Sao Paulo, Rio de Janeiro, Hong Kong - Starring Tony Rizzi, Frankfurt Ballett, William Forsythe seit 1993 Imagefilme, Präsentationen, Musik Videos und Werbefilme 1992 ‘1 x täglich’ Prädikat ‘wertvoll’ 16 mm, 90 ‘’ - Int. Filmfestspiele Berlin 1993 – SFB, ARTE - Starring Thomas Grube seit 1991 Autor/ Redakteur von Fernsehfeatures für Deutsche Welle TV, Vox, RTL, Tele 5, ITV / SuperChannel, ARTE u.a. Beiträge für diese Sendungen: 100 Grad, Elf 99, Boulevard Deutschland, MET, The Big (E), Spiegel TV, Liebe Sünde, Wa(h)re Liebe, Absolut, Lola 1990 ‘Sisyphos Love’ 16mm, S/W und Farbe, 12’ Int Filmfestspiele Berlin 1991 </p> <p>2004 Artist-in-Residence USF, Bergen, Norwegen 2003 Skri?uklaustur Stipendium, Island 2002 Stipendium Akademie Schloss Solitude, Stuttgart 1997- 2000 Los Angeles, USA 1994-96 Johann Wolfgang Goethe-Universität Frankfurt/Main (Philosophie) 1987-1992 Hochschule der Künste Berlin ‘Dipl. Kommunikationswirt’ Schwerpunkt Text und audio-visuelle Medien. Diplomarbeit ‘Tod der Metapher in Musikvideos’ 1989-91 Tisch School of the Arts, New York University (Film + TV) 1986-89 Freie Universität Berlin, (Publizistik, Philosophie, Rechtswissenschaften) 1986 Abitur mit Latinum und Graecum </p> <p>romantischer Thriller/ Road-Movie Deutschland 2006, 95 Min/ High Definition Video/ 35mm, Farbe, Lichton Dolby SR; Deutsch, Polnisch, Litauisch, Russisch Dem in Verdrängung lebenden Partygirl Klara, 24, bleibt nichts anderes übrig, als den Mann, den sie liebt, zu erschiessen. Sie verliebt sich in den Kleinkriminellen Toni, 28, der sie auf einem Trip mit ihren Freunden Justus und Philip an die kurische Nehrung zu einer Fahrt nach St. Petersburg überredet. Maximilian Moll Buch, Regie: Michael Dudek, Buch: <a href="http://www.tobybirney.com" target="_blank">Toby Birney</a>, Kamera: Frank Wehmeyer, Steadycam: Michael Willadt, Ausstattung: Stephanie Madaus, Schnitt: Daniel Bier Schnitt/ Tonschnitt: <a href="http://www.bfs-cutter.de/steckbrief.php?id=22869" target="_blank">Lars Pienkoß</a>, Schnitt: Ole Stührmann Musikberatung: <a href="http://www.kidcongopowers.com" target="_blank">Kid Congo Powers</a>, Komponist … und viele andere</p> <p>Cast <a href="http://www.reitzenstein-management.de" target="_blank">Sarah Becker</a> Klara (Michael Dudek) Toni (Sebastian Reuter) Justus (Maximilian Moll) Philip (<a href="http://www.players.de" target="_blank">Wotan Wilke</a>) Möhring Nick (<a href="http://www.tom-wlaschiha.de" target="_blank">Tom Wlaschiha</a>) Exfreund (<a href="http://www.agentur-velvet.de" target="_blank">Nikolaus Szentmiklosi</a>) Exfreund (<a href="http://www.tabea-heynig.de" target="_blank">Tabea Heynig</a>) Koko (Aylin Cemali) Kiki (<a href="http://www.namosh.de" target="_blank">Namosh Arslan</a>) Clubact (Adrian Zwicker) Rick (<a href="http://www.entertainment3000.net" target="_blank">Hubertus Regout</a>) Jugendfreund (<a href="http://www.biberti.de/biberti_schauspielerin.htm" target="_blank">Ilse Biberti</a>) Vermieterin (Wolfgang Liehr) Taxifahrer Berlin (Janusz Cichocki) Georg Janusz Cichocki(Ceslovas Kuncevicius) Lasterfahrer Sohn (Vitalij Slotvinskij) Lasterfahrer Vater (Petras Mackela) Lasterfahrer, der Klara mitnimmt (Giedrius Rastenis Lasterfahrer, der Klara mitnimmt (Ausza Puckoruite) Schiessbudengirl (Valentina Scetinskaja) Apothekerin (Christian Ranft) Autofahrer (Julia Lisachkina) Bedienung Spb (Zavitaer Daniil) Junge Spb (Molodtsov Vyacheslav Igorevich) Junge Spb (Zamajatin Yuriy Eugenievich) Junge Spb (Ilia Pimenov Alekseevich) Junge Spb (Audrone) Flughafen Check-in Litauen (Bohdan Graczyk) Geschäftsmann (Remizowa Alexandra) Taxifahrerin St. Petersburg (Kwesi) Türsteher (Sophie Weickert) Barfrau (Tatsiana Kokhthva) Kassenfrau</p> <p>Freischwimmer/in (TripS) AT romantischer Thriller/ Road-Movie Deutschland 2006 95 Min/ High Definition Video/ 35mm, Farbe, Lichton Dolby SR Deutsch, Polnisch, Litauisch, Russisch </p> <p>Dem in Verdrängung lebenden Partygirl Klara, 24, bleibt nichts anderes übrig, als den Mann, den sie liebt, zu erschiessen. Sie verliebt sich in den Kleinkriminellen Toni, 28, der sie auf einem Trip mit ihren Freunden Justus und Philip an die kurische Nehrung zu einer Fahrt nach St. Petersburg überredet…</p> <p>Crew Maximilian Moll Buch, Regie<br /> Michael Dudek Buch<br /> <a href="http://www.tobybirney.com" target="_blank">Toby Birney</a> Kamera <br /> Frank Wehmeyer Steadycam<br /> Michael Willadt Ausstattung<br /> Stephanie Madaus Schnitt<br /> Daniel Bier Schnitt/ Tonschnitt<br /> <a href="http://www.bfs-cutter.de/steckbrief.php?id=22869" target="_blank">Lars Pienkoß</a> Schnitt <br /> Ole Stührmann Musikberatung<br /> Khan Komponist <br /> und viele andere </p> <p>dønning<br /> (engl: swell) Bergen/ Norway, USF; interactive multi-projection-installation, december 2004 The site-specific theme of joy and danger of water reflects in the galleries windows back to the sea. The indifferent combination of selected footage from archives and newly produced live-action footage is randomly generated by VJ-software which is set to the sounds of the water picked up at the site. Due to the iconic quality of the images, they seem to be metaphorical and intentionally combined which they are not.<br /> <a href="http://www.doenning.de.vu" target="_blank">DOENNING</a> </p> <p>ein°sicht<br /> Multi-projection-installations at four historic sites of Berlin, February 2004 karl-marx-allee, bülowstr, wiesenburg wedding, potsdamer platz The site-specific and different historic themes reflect in the windows of these Berlin locations. The indifferent combination of selected footage from archives and newly produced live-action footage is randomly generated by VJ-software in innumerable combinations.Due to the iconic quality of the images, they seem to be metaphorical and intentionally combined which they are not.<br /> <a href="http://www.ein-sicht.de.vu" target="_blank">Ein-Sicht</a><br /> Video-Projection Installations by Maximilian Moll at four public venues in Berlin, supported by Hauptstadtkulturfonds.<br /> Between 05.02.04 - 28.03.04, video artist and filmmaker Maximilian Moll will show multiple-projection installations at four venues. From 5pm, the windowpanes will open a view behind the facades and on the turbulent history of these very different venues. <br /> The precise locations are:<br /> Karl-Marx-Allee 45, near the Kino International (until 20.2.04), Bülowstraße 90, along the underground tracks (until 28.03.04), Potsdamer Platz, rear facade of the Grand Hyatt Hotels, Ludwig-Beck-Straße (opening in March, the installation will be a permanent feature at the hotel from then on), Wiesenburg, Wiesenstra?e and Lebenshaus, Gerichtstr./ Wedding, along the S-Bahn circle between the S-Bahn stations Wedding and Gesundbrunnen (until 14.03.04)<br /> Material<br /> The images refer to historical footage, emotionally charged moments like war, destruction, the separation by the wall, social welfare etc. put in context with a layer of abstract images and an en-acted, narrative layer featuring the actors Sarah Becker and Jochen Schropp. The historical material was taken from the archives of Chronos, RBB and Spiegel. <br /> The different elements create a vibrance of the past that conveys a notion of the venuesí history. Often, the passing by is part of the installation as two venues only can be viewed from underground- and S-Bahn trains. Time cannot be captured as present turns to past the same instance. Moving on and passing by refers to our own notion of time Technique<br /> Each venue gives insight into the past by approximately 3 back-projections which are fed by VJ-software of a computer which combines and picks the different material randomly. Intention<br /> History is omnipresent. There is hardly any other city in the world like Berlin that has changed its face so drastically, be it through the natural course of time or through external influences. The coming and going of contradictions is the main focus of ein°sicht and it is those contradictive aspects of time we wish to make perceivable within the urban space. Video projections will be used to emphasise the historic significance, partly hidden partly obvious, of different locations. The project<br /> Credits: Andreas Dahrendorf, Produktion; Arne Krasting - Historical Consulting; Carsten Zehran, Mario Methner, Michael Dudek, Sebastian Reuter – Computer; Sarah Becker, Jochen Schropp - Actors<br /> The installations will illuminate the following locations from nightfall until dawn:<br /> The locations and their history<br /> The locations have been selected to embrace different aspects of life in Berlin, different social classes and their contrasts, different eras with their particular problems and dichotomies: bourgeoisie and proletariat, East and West, destruction and reconstruction. Those incongruencies and the co-existence of continuity and discontinuity are typical of Berlin and are reflected in the choice of locations. Explore the map of Berlin to see more. </p> <p>schaf im wolfspelz | sheep in wolf’s clothing, Multi-screen-installation, 2003, Iceland, Museum gunnarshus The attempt to integrate and communicate with a flock of sheep </p> <p>67 bullets, 2003, 3'30'' The RAF-kidnapping of Hanns-Martin Schleyer received immense media coverage and inspired teenagers at the age of the filmmaker then to re-enact it on original location in Cologne. The opera by Adriana Hoelszky turned into a music film telling a Whodunnit, the life of a man and everyone's reason to kill him. Project Status. flashback scenes of the hero's adolescence shot for research on location in Iceland. Project Status. </p> <p><a href="http://www.tragoedia.de.vu" target="_blank">TRAGOEDIA</a></p> <p>THE DARK SIDE OF DAREN, Documentary, 58 Min, 35mm, premiered at the International Film Festival Berlin 2001.<br /> Directed by Maximilian Moll, Produced by Momentum Film. Edited by Yvette Mattern A touching portrayal of a contemporary gay love-story told through the eyes/ camera of the filmmaker and his struggle with co-dependency, set on the top of the Hollywood Hills. The film deals with the drug 'speed', methamphetamine, and the personal effects it has on behaviour and relationships. …the social construction of a gay drug, widely popular among homosexuals in the US. 'Speed' has not been dealt with in today's filmmaking, like e.g. Bret Easton Ellis has dealt with cocaine in the 80's. The film references from a very personal point of view the drug sub-culture as it first appeared in 'Easy Rider' or 'Valley of the Dolls'in the 60's. Quite the opposite of a road-movie it shows the isolation and the very 90's attitude of preserving an outward appearance, a prerequisite of the glamour world of Hollywood and the values of contemporary western civilisation. It is a testament to the 90's where the demands of "keeping-up with the Jones's" , being up/ up all the time in order to reach the high standards of success in every aspect of life, professionally, culturally, even sexually are present. 'The Dark Side of Daren' is not a conventional documentary in the sense that it is told in a narrative feature-film style. Scenes and story unfold on it's own without the need for conventional interview set-ups. This allows for an intimate quality, exposing very real moments between two people that are highly compelling because of their authenticity, moments a screenwriter hopes for. Daren has great presence. He is charming, gorgeous, intelligent, with good taste, funny and handsome. And he is on drugs. This is not obvious as he has a tight grip on his use and has created a world for himself that is isolated from any unexpected influence. Daren has withdrawn in a private world of cleaning and gardening where he attempts to forget about the outside world and it's demands. Daren cannot pay the mortgage of his house; he is unemployed with bad credit. So he doesn't obtain a mortgage loan to maintain and keep his Million Dollar home. Daren will not find himself on skid row. He is not Christiane F. Or if so, the revised gay version of the 90's, too educated and handsome to end up in the gutter. There will always be someone to pay his bills. This is the challenge of this film: deciphering the surface and looking behind the scenes, for a self-destructiveness that is not easily recognized.Director's Statement "I started out documenting the coming off drugs of my boyfriend, somehow believing that coming-off drugs is a one time thing and healing would be immediate...as it was his decision to stop and I was ready to help. That was an illusion, but I learned to live with the hope for a change and no relapse could stop me dreaming. The behavior that the drug use creates was not necessarily against me, it was just self-centered on the drug itself. Daren couldn't be blamed for how he was, I totally knew why and always could make excuses for him. What I didn't realize was that I wasn't able to set boundaries, I got too close and the well-being of our relationship became more important than my own well-being. The camera was probably the last formal divider between us. This situation made me vulnerable and I was continuously hurt and disappointed. It took me a while to understand that it was I who allowed myself to get hurt. Given the kind of relationship that I was aspiring for, it made it impossible to keep a safe distance. I learned that this condition has a name, co-dependency. In the US self-help groups exist and books are written about it and there is a wide awareness for these problems that first were prescribed for relatives of alcoholics. To be aware of my co-dependency is the first step but still I couldn't detach. Again and again we went in circles of hoping and getting hurt, still believing that we could be together. At some point I realized that the only way to help is to let go, let go of the love that I felt so strong and perfect, despite it's imperfection, because there was nothing I really could do and every support will rather maintain the situation than evoke a change. I was exhausted and whatever I did it was neither helping me nor Daren." Music: 'The Drama' by Chaka Khan, remixed by Eric. D. Clark: 'The Time is Now' by Moloko:'Brand New Key' by Melanie and music by Vicki Schmatolla, Robert Ohm, Shraa&Maze </p> <p>Heile Welt, Safe Harbour - sound world, Stuttgart, Nov 1-10 2002<br /> Interactive Multi-Projection-Installation to be viewed from the inside of a car combined with live footage of a surveillance camera. A journey from the perspective of a toy car pacing through the living spaces of a Mies van der Rohe and a Hans Scharoun house in Stuttgart/ Germany built in 1927 in contrast to the hide-out of heroin-junkies in an abandoned house in Leipzig and the living room of a house in Grimma destroyed by the big flood in 2002. Heile Welt, Safe Harbour - sound world, Interactive Multi-Projection-Installation<br /> As well: Photo-series of 180 to 360° panoramic views of the locations from toy car perspective. Height 30 cm, Length varies between 500-800 cm. </p> <p>BURST | 29.06.02 Akademie Schloss Solitude, Stuttgart, "BURST - Vor Glück Platzen"<br /> Photo and Video Installation<br /> The contrast between happy couples on their wedding day photographed and the Video of a dysfunctional love relationship. authenticity and reality in the opposite representations of happiness and despair. the fact of media perception is found in both, the photos showing the wedding photographer as well as the video featuring the director’s voice and non-linear editing. Installation aus Fotografie und Video. Sie konstruiert ein Spannungsfeld zwischen dem inszenierten Glück von Brautpaaren, die sich auf der Solitude am schönsten Tag ihres Lebens von einem Hochzeitsfotografen ablichten lassen und den als Videoeinspielung gezeigten Zerwürfnissen einer disfunktionalen Beziehung. Diese Zerwürfnisse sind es, die in ihrer psychologischen Inszeniertheit, einer Mischung aus Authentizität nach Dogma oder Reality-TV-Serien, Zustände einer Beziehung zeigen, die gemeinhin wahrscheinlich wirklicher sind, als die Glücksmomente bei einer Hochzeit. Dabei bezieht beides, Fotos und das Video, den Umstand der Medialität mit ein: Auf den Fotos verweisen die jeweiligen Fotografen auf den Entstehungsrahmen, im Film ist es der Filmemacher selbst, der als Regie-Stimme aus dem Off die Inszeniertheit verdeutlicht, sowie die hin und wieder die lineare Erzählstruktur durchbrechende Schnittweise. Medialität und Authentizität wirken solcherart mit- und gegeneinander. </p> <p>he 'Steady Flaunt Trilogy" deals contemplatively and in an ironic way with the economics and routines of western civilization. 2002, 2'30", Color, Stereo, no language premiere 3/2002 Flora Danica Galerie, NYC<br /> STEADY FLAUNT<br /> Part 2 of the 'Steady Flaunt Trilogy" deals with the vanity of western civilization, here in terms of life-style. 2002, 5'10", Color, Stereo, no language premiere 3/2002 Flora Danica Galerie, NYC<br /> FINAL FLAUNT<br /> Part 3 of the 'Steady Flaunt Trilogy" puts the dominance of western culture in context. 2002, 3'00", Color, Stereo, no language premiere 3/2002 Flora Danica Galerie, NYC </p> <p>Objects in the rear view mirror… - group show<br /> 12.6.-31.7.99 Galerie Max Hetzler, Berlin ‘Transcentral’ - solo show, 5.6. - 3.7.99 POST, Los Angeles info@?post-la.com Routine, 1999 (40" x 60") Anticipation in suit, 1999 (8" x 12") Anticipation with tie, 1999 (8" x 12") Transition in pairs, 1999 (27" x 40") When 1, 1999 (8" x 12") When 2, 1999 (8" x 12") Where, 1999 (27" x 40") ‘Objects in the rear view mirror may appear closer than they are’ - group show 12.6.-31.7.99 Galerie Max Hetzler, Berlin 'TATTOO' aka 'MARKED' theatrical feature film, script development Developed with the support of the European Script Fund, an initiative of the MEDIA Programme of the European Union and Filmboard Berlin Brandenburg GmbH<br /> "TATTOO "Story by Laurent Holzamer; Written by Dillard Sholes and Maximilian Moll<br /> Subtly hidden from Berlin's tourist attractions, a polymorphic subculture thrives behind ruined facades and down in labyrinthine cellars. No mode of dress - or - undress is considered too outlandish, no sexual preference is unacceptable, whatever the variety<br /> Sentiment, interactive installation 11/2002<br /> Remembering and Forgetting as organizing principles of a stream-of consciousness documented in photographs of all walks of life. Photography as means of capturing unforgettable moments is contrasted with the cathartic and destructive effects of a saw shredding selected photos.<br /> A monitor shows the mind suffering in a process of organizing memories or destroying them only interrupted by the audience looking at a surveillance camera behind mirrored glass at the entrance.<br /> </p> <p>WE FORGET 1 Min, 35mm, 1:1,66, color/BW world premiere at the International Film Festival Berlin 1996, Starring Tony Rizzi.<br /> Life entails remembering or forgetting. A young man does one of these things, but perceives something different. Peaceful living turns into argument or the other way around; lack of desire may become desire - but who can remember if there was a condom or not? SISYPHOS LOVE 14 Min, 16mm, 1:1,37color world premiere at the International Berlin Film Festival 1991 The film demonstrates the absurd efforts of Rage and Joy to take the other's love for granted, without returning it. They trap themselves in a neverending cycle, taking it in turns to run after each other, barely conscious that, whilst they carry on like this, they are getting older. The doing so, they fall prey to the curse of Sisyphos.<br /> SYNTHESE 1989 ‘Vision of a Synthesis’, S8 to D1, 9’, Andreas Wülfing, Mirian Winkels. East and West are heading towards each other, fulfilling each others needs.<br /> Panoramic Photography, Panorama Fotografie. Height 20-30 cm, Length 200-700 cm. deserts, empty land, civilisation, Wuesten, leeres land, ohne zivilisation,<br /> SMUGGLER Prädikat wertvoll<br /> Hendrik Martz. A smuggler arrives at the border. He manages to maintain his composure, thus clearing the way for his entry into another world. 4 Min, 35mm, 1:1,85, color + B/W world premiere at the International Berlin Film Festival 1998 1 X TÄGLICH/ ONCE DAILY, Prädikat wertvoll The desires and imagination of a prisoner. It's the only place he can breathe and look out into the distance. The only place he can dare to jump from Berlin's Victory Column, dive through the Brandenburg Gate and find freedom on "Unter den Linden". However, this freedom comes to a sudden halt. 3 Min, 16mm, 1:1,37, color + B/W premiere at the International Berlin Film Festival 1993, Starring Thomas Grube BURST 29.06.02 Akademie Schloss Solitude, Stuttgart "BURST - Vor Glück Platzen" Installation aus Fotografie und Video. Sie konstruiert ein Spannungsfeld zwischen dem inszenierten Glück von Brautpaaren, die sich auf der Solitude am schönsten Tag ihres Lebens von einem Hochzeitsfotografen ablichten lassen und den als Videoeinspielung gezeigten Zerwürfnissen einer disfunktionalen Beziehung. </p> <p>MAXIMILIAN MOLL 1967 born in Cologne/ Germany, lives in Berlin/ Germany 2004 Artist-in-Residence USF, Bergen, Norway 2003 Skri?uklaustur Residency, Iceland 2002 Residency Akademie Schloss Solitude, Stuttgart 1997- 2000 Los Angeles, USA 1994-96 Johann Wolfgang Goethe-University Frankfurt/Main (Philosophy) 1987-1992 Hochschule der Künste Berlin (Art Academy Berlin) ‘Dipl. Kommunikationswirt’ Text and audio-visual Media Thesis ‘Death of Metaphors in Musicvideos’ 1989-91 Tisch School of the Arts, New York University (Film + TV) 1986-89 Freie Universität Berlin, (Journalism, Philosophy, Law) 1986 Abitur (1,6) with A-level Latin and Graecum 2004 ‘Dønning’ Multi-projection-installation USF Bergen, Norway ‘Ein°sicht’ Multi-projection-installation at four historic sites in Berlin with support of Hauptstadtkulturfonds 2003 ‘First Flaunt’ Rencontres Internationales Paris-Berlin The Canal Street Projection Project, New Orleans, LA, USA ‘Schaf im Wolfspelz’ Multi-screen-video-installation, Museum Gunnarshus, Iceland 2002 ‘Dazzler – Dynamic tension must be hard work’ Flora Danica Galerie New York City, USA ‘Life in the City’, Museum of Modern Art, New York City, USA ‘Burst – vor Glück platzen’ Video-Photo-Installation, Akademie Schloss Solitude, Stuttgart ‘Heile Welt’ Multi-projection-installation Weissenhofsiedlung Stuttgart with support of Medien- und Filmgesellschaft Baden-Württemberg ‘Sentiment’ Video-Photo-Installation Akademie Schloss Solitude, Stuttgart </p> <p>Filmography Maximilian Moll<br /> ‘Styx’, 2’, and ‘Take Out’, 2’30’’, at ‘Zebra – International Poetry Film Festival’ Berlin<br /> ‘Steady Flaunt, 5’10’’, at ‘Kasseler Dokumentarfilm- und Videofest’<br /> 2001‘The Dark Side of Daren’, Documentary, 60’, Portrait, 35mm, Premiered Int. Filmfestspiele Berlin 2001<br /> Galerie Max Hetzler, ‘Objects in the rear view mirror..’<br /> POST gallery, Los Angeles ‘Transitions’<br /> 2000 Teaching Assignment Otis College of Art and Design, Los Angeles Film at the Digital Media Dept.<br /> 1997 SMUGGLER’ , 3’50”, 35mm, Prädikat ‘wertvoll’ - Int. Filmfestspiele Berlin 1998, Bilbao 1998- Starring Hendrik Martz<br /> since 1996 development of screenplays <br /> ‘Tattoo’ feature film Filmboard Berlin, European Script Fund<br /> ‘Jolts’ feature film with Elke Sommer, Allegra Curtis, Susan Tyrrell<br /> ‘Trio’ Coming-of-Age- feature film<br /> ‘Triade’ Thriller TV-movie <br /> 1995 ‘We forget’, 75’’, 35mm - Int. Filmfestspiele Berlin 1996, San Francisco, Sao Paulo, Rio de Janeiro, Hong Kong - Starring Tony Rizzi, Frankfurt Ballett, William Forsythe<br /> since 1993 Imagefilms, Industrials, Presentations, Musik Videos and Commercials<br /> 1992 ‘1 x daily’ Prädikat ‘wertvoll’; 16 mm, 90 ‘’ - Int. Filmfestspiele Berlin 1993 – SFB, ARTE; Starring Thomas Grube<br /> seit 1991 Author of TV-features für Deutsche Welle TV, Vox, RTL, Tele 5, ITV / SuperChannel, ARTE<br /> among others reports for these programmes: <br /> 100 Grad, Elf 99, Boulevard Deutschland, MET, The Big (E), Spiegel TV, Liebe Sünde, Wa(h)re Liebe, Absolut, Lola<br /> 1990 ‘Sisyphos Love’; 16mm, B/W and Color, 12’ - Int Filmfestspiele Berlin 1991 </p> <p> </p> <p><a href="http://www.d-form.com" target="_blank">dform Berlin</a></p> </body>