The film opens with a keen reflection by Jonas Mekas on improvisation: "it is," he says, "the highest form of concentration, of awareness, of intuitive knowledge, when the imagination begins to dismiss the pre-arranged, the contrived mental structures, and goes directly to the depths of the matter. This is the true meaning of improvisation, and it is not a method at all, it is, rather, a state of being necessary for any inspired creation. It is an ability that every true artist develops by a constant and life-long inner vigilance, by the cultivation – yes! – of his senses". Aurand and Pfeiffer put this into practice by filming each other in four iconic European locations: walking in a summer dress through the snow in front of the Reichstag in Berlin, twirling a child over and over in the air in Moscow's Red Square, climbing the waterfall at Place de la Concorde on a hot day in Paris and, like two angels in London, walking through the City at night. (CG)
Ute Aurand (Frankfurt, 1957) is an experimental filmmaker and one of the great representatives of first-person cinema shot on 16mm. Trained at the DFFB in Berlin (German Film and Television Academy), her work has been screened internationally at institutions such as the Harvard Film Archive, Filmmuseum Vienna, Tate Modern (London), Lincoln Center (New York), Filmforum (Los Angeles) and the Instituto Moreira Salles (Sao Paulo and Rio de Janeiro), as well as part of the avant-garde sections of festivals such as IFFR (Rotterdam), TIFF (Toronto), Berlinale, NYFF (New York), DocLisboa, Courtisane (Ghent) and Punto de Vista (Pamplona). She is a film programmer and archivist at Arsenal. Institute for Film and Video Art (Berlin), a world-class center for international film.