Stefanie Schneider – gone with the retro filter

Photography and film by Stefanie Schneider  –  my review

I'm afraid I've lost one of my last hopes lightness of being could exist in art.
Heather's Dream  –a short film by Stefanie Schneider–  was selected for the German competition in the International Short Film Festival Oberhausen in 2013.
I admire Stefanie Schneider's photographs and the narrative style of her work for many years. It is consecutive she performs experiments with short film now.

The pictures in Heather's Dream are beautiful as always. – But for me there are two disappointing aspects with the film (without knowing Stefanie Schneider's film work in detail and without having watched Heather's Dream in the full version).

Heather's Dream

Trailer on YouTube by Stefanie Schneider (instantdreamsnet) featuring Udo Kier


A movie has to be told by pictures – clearly. But for the emotional approach and the mood of the whole project the sound is indeed even more important.
Can with a dream-like technique as in Heather's Dream the soundtrack simply consist of synchronous noises and synchronous speech?
In this kind of film the soundtrack has to be a piece of art in it's own right and with it's own time line (doesn't mean it has to be music). The storytelling in Heather's Dream (in the track of spoken and written words) lacks a widened flow of time, it's too one-dimensional, it needs loops and silence – and a lot more effort.
In particular the story told by the soundtrack needs to be more independent from the pictures.
Some of those who do lifelong nothing else but trying to produce remarkable sound (happening artists, musicians of "minimal", "industrial", "house".. ) make it in the end. Stefanie didn't yet – it's a bold undertaking.


To believe Udo Kier is the prototype of a man and to cast him  -as Stefanie Schneider did-  is quite sad – for her and for the film.
"Terrible and ugly" (in German: "dominanz-geiler Sack") – that's most women's view on men in general and for a whole generation. It seems that's what Stefanie wanted for the film.
Once in history it was different (and more veracious):

Meshes of the Afternoon

Film: Meshes of the Afternoon, 1943

Here are some examples of a better soundtrack and a different view on men:

* * *

A more general question about Stefanie Schneider's camera work is: will her work gain steam by today's tendency to retro and Polaroid effects in digital photography?
I guess she is lucky she became a kind of classic before her work could get lost in a surge of millions and millions of enthusiast iPhone Polaroids.

digital vintage