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Rote Ohren fetzen durch Asche
Österreich 1991
Regie: Angela Hans Scheirl, Ursula Pürrer, Dietmar Schipek
mit: Susanna Heilmayr, Ursula Pürrer, Angela Hans Scheirl, Margarete Neumann, Gabriele Szekatsch
83 min, Color
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Brandstiftung, Mord, Vampirismus und andere überraschende lesbische Praktiken - all das und noch viel mehr webt sich in einem recht zerfetzten, wilden Netzwerk zusammen, in dem nicht einmal mehr die im Film gezeigten Toten zu zählen wären. Denn was eben noch allen Anzeichen nach als Leiche gelten konnte: nackt, gehängt und an Ketten, das lebt plötzlich wieder -'Haa!' - ,wirft die Arme hoch und - 'Cut!' - wird nie wieder gesehen. Ein genußvoller Serienmord an den 'Gesetzen' filmischer Narration, Genres und Gender-Stereotypen.
"Wir schreiben das Jahr 2700. 'Asche' ist eine riesige, ausgebrannte Stadt. Verwildert und gefährlich. Dieser harte brutale Existenzkampf hindert die Protagonisten nicht daran, ihr Leben zu leben: Gierig, eigenwillig, launisch sind sie, komplex und unberechenbar. Dort, wo sich ihre Wege kreuzen, sprühen die Funken."
"Sie nehmen einen 'Raum' (auf der Leinwand, in den Köpfen, eine Werkstatt?) in Anspruch, einen Raum für eine neue Kultur. Diese Kultur ist androgyn, diebisch, körperlich, leichtsinnig und die Kunst spielt eine große Rolle: Bilder! So viele wie möglich, so verschieden wie möglich." "Aus Horrorfilmen und Comix der 80er wehte ein frischer Wind: saftiges grün und violett: morbid, ironisch, übertrieben, absurd, fantastisch, manisch, gierig, sexuell, gefährlich: Hier werden Grenzen herausgefordert. Schnell! Rote Ohren fetzen durch Asche!"
*Alle Zitate: Scheirl, Schipek, Pürrer
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Presse
Sexier than Sprockets, FIaming Ears hurtles into a future where the authoritative vobes of the universe belong to lesbian go-go dancers, pyromaniacs, and bouncers. (...) This visually provocative science fiction thriller harbours ornate dialoge too outrageous to be pretentius. "A melancolic bird is gliding over the sea of cruelte" (...) , "Can you feel the dew in your armpits?"
Laurence Chua, Village Voice, Januar 1993
Shot in Super 8 and explodes to 16mm, Flaming Ears is a German Blade Runner – about a sexed-up pyromaniac, her red-plastic-clad mate, and a revengeful comix artist _ characterized by a fierce, punky throb and gelatinous F/X. As saphhic thrillers go, it's twenta times more fun than Basic Instinct.
G.F., Andy Warhol's Interview, Juni 1992
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Filmmaker Ursula Pürrer is not too fond of community standards of correctness. "I don't care about the rules in the art scene, and I don't care about the rules in the lesbian scene," she says bluntly. "About six years ago, lesbians were saying, 'You have adildo?!' and now it's 'You don't have a dildo?!' If you the history, you just say, 'Girls, have your fun.'" (...) Pürrer's motivating passion for Flaming Ears, she explains, involves some combination of strong-willed women, power, and violence. "There is a group of lesbians who will sy that the film is politically incorrect becuase there is too much violence," Pürrer admits. "But as a lesbian filmmaker you are a fighter. It is the only way you can define yourself. If you have to fight, then there's violence in the game."
Monica Dorenkamp, The Advocate, Juni 1992
One film in particular that for me represents the future of this (lesbian) new wave is a film called Flaming Ears, by Austrian codirectors Angela Hans Scheirl, Dietmar Schipek, and Ursula Pürrer. Indeed, in Flaming Ears the future is lesbian. This extraordinary film (...) is set in the year 2700 in the town of Asche, where a peculiar band of lesbian characters live out a strange subcultural existence. In this film – the hottest I saw at the festival– the sex was bizarre, almost unfamiliar, and it was spliced with ritualistic violence like vampirism. In one scene in a sex club, a performer dons a belt from which a cock and balls hang like perverse wind-chimes. She suspends herself from parallel bars with hands and ankles, and the dildo ornament swings between her tighs as two women begin to touch her. Flaming Ears attempts to capture a new queer aesthetic, one radically different from the sleek and beautiful images of gorgeous gay men that has been heralded as the new Queer Cinema. (...) In the case of Flaming Ears, the film is distinctively lesbian, but it constitutes its narrative frame in ways unfamiliar and even disturbing. In the context of American lesbian narrative film, Flaming Ears is ahead of its time. But in Europe, where artists like Ulrike Otinger, Valley(!) Export, and Monica Treut have radically rewritten the conditions of narrative realism, a film like Flaming Ears makes much more sense. I think, stylistic and formal experiemnt does not automatically mean the loss of narrative coherence.
Judith Halberstam, The Independent, November 1992
http://members.vienna.at/ds/FLAMING1.html
(Film-homepage, dort: "Blutig ist die Revolution der Liebe"
von Elke Schüttelkopf)
http://members.vienna.at/ds/intervRote.html
(INTERVIEW with the directors of Flaming Ears )
http://members.vienna.at/ds/presseR.html
(PRESS ARCHIVE "FLAMING EARS")
http://www.bigstar.com/search/index.cfm?&banid= 3869&fa=qt&fmt=&&titleid=1063847&pid=1063847&banid =3869#description (Videovertrieb, mit Kommentar)
http://wuezburg.gay-web.de/archiv/r_ohren.htm
(gay-web, Kommentar)
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Claudia Reiche in Zusammenarbeit mit dem kino46
