A momentary still life, a scene setting: ironing board, iron, and a pile of shirts. And then the clapper-board: “Films” as title of the film—as the earlier films were called. Scene 25, Take 1, Roll 1.
Sasha Pirker's Real Time is concerned in a two-fold sense with recording artistic creative processes. Shooting with a Bolex camera, the filmmaker documents the form-finding creation of a drawing in real time. Line follows upon line only to reveal, by the end of the film, what film normally conceals: the woman with a movie camera - as well as the artist Gerlind Zeilner who has captured their mirror image in her collective portrait drawing.
Night, a full moon shown in a long shot. Sasha Pirker divides this miniature into three movements with different types of sound to accompany the dark image. “Ma” refers to the Japanese concept of negative, empty space. After “me” and “ma” comes the “moon” in the audio form of a rousing music track, whose dynamics build up extreme tension against the image. Now the unfinished film is perhaps finished after all—as a liberated dance under the Moon.
