DIRECTOR'S NAME: TINA WINKHAUS AND FABIAN GROBE / PRODUCTION COMPANY: WINKHAUS AND GROBE / COUNTRY OF ORIGIN: GERMANY / DURATION: 2'55" / MUSIC: MAIKE ROSA VOGEL / CAST: ANASTASIA POPE / DIRECTOR OF PHOTOGRAPHY: TINA WINKHAUS, FABIAN GROBE / ARTISTIC DIRECTOR: TINA WINKHAUS / STYLIST: TINA WINKHAUS / HAIR: ACACIO DA SILVA / MAKE-UP: KARLA NEFF

SHORT FILM SYNOPSIS:
In her work, Winkhaus shows the undisguised borders of what is bearable and points out to the abysses of our double moral standards. She plays with the external bondages that apply to the success models of child-like Lolita and the attributes of the sex object "child". Winkhaus leads the eye of the beholder beyond the superficial and perfect shell. She displays the complete range of emotional abuse, sadness and loneliness, of those who are lost in a world to which they don't yet belong, a world they do not yet fit. Children who are forced to grow up and portrayed as adult copies, themselves lost and empty looking. A work that touches you deeply, that shames you as soon as you gaze behind the scenes.

SHORT DIRECTOR BIO:
The two ways in which Tina has tried to extend her art are these: she has tried to enrich the visual findings of the eye with a depth of feeling to which she couldn’t reach as a younger woman, and she has also tried to implicate the eye, thus enriched, into the very scene that it seems to record. At times the two aims pull apart. For instance, Tina’s most impressive attempt to increase the expressive power of her work is undoubtedly the Little Red Riding Hood, which she executed in early 2004. The series has an extraordinary emotional charge. But the emotions are solitary emotions: they are loneliness, hopelessness and anxiety. One of the most touching works of the latter is Disparates – a free form improvisation upon Goya’s Cappriccios, bold, dark, nearly monochrome five-piece series which definitely represents Tina as someone trying to learn from life. Learning, where this includes wanting to learn, not being afraid to learn, not being afraid to show that one has something to learn, is anyway a big theme in Tina’s work. Her art quiver with an anger and compassion of which we have sore need. Now that she has hit her stride, let us hope that she will run and run.

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