“I’ve often thought about this woman and wondered what made her act so violently. I guess it wasn’t any one big thing, but a lot of little things that just grew deeper and deeper under her skin.” Cozy is living the middle class dream: a house in Dade county, three children and a devoted man by her side working day and night so she can stay at home. Her attempt to break free from this life leads to an evening in a bar with Lee. After threatening his grandmother with a gun he found in a ditch, Lee has, for the first time in thirty years, nowhere to stay. The evening escalates and by morning they are like Bonnie and Clyde. They have found a new life together on the run from the local authorities, one of them being Cozy’s dad. River of Grass seems to tell the story of a life Reichardt could have led – born and raised in Florida in a home without any art besides the jazz vinyls of her dad who worked in law enforcement. She tells the story of outcasts, just trying to get by. The way their stories are told is often breaking with conventional narratives, with a sense for social subtleties. After the success of her debut in the independent film scene, she was not able to realize another feature film for almost ten years. By now her work has gained mainstream recognition, even though she continues to make films on her own terms, far away from Hollywood.

In the midst of public festivity they rise skyward: the “castells” of the Catalan castellers – human towers built from bodies and trust. Collapse is always a possibility. In Die Welt ist alles, was der Fall ist, Eva Teppe reworks TV documentary footage and radically slows the fall. The title quotes Ludwig Wittgenstein. Documentary action turns into an abstract pull of colour and proximity. A film about falling – and about what is actually the case within the image.

Print from the collection of Kino im Blauen Salon (HfG KA)