An imaginary journey on a ship. We turned the building of the Film Academy into a ship. Claire and Solange from a Jean Genet piece, a polish woman with her Madonna, screaming sailors are a few of the passengers on this artifical journey.

A collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman… sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: “A child asleep in its own life”.

"India" developed out of my three journeys to Pune in 2001, 2002 and 2004. I arrived in a forgein country, and felt surprisingly familiar in the foreign. There in the streets, walking among the people, surrounded by their movements, their gestures, by the colors, the light, the beauty. Small things awakened my attention, sometimes only a short glimpse, a hand movement, the color of a sari, a temple hidden in a courtyard. It was like a long hot bath that I took there in Pune's streets - something unique and very beautiful.

Aurand and Pfeiffer filmed each other at four famous sites in Europe: walking in a summer dress through the snow in front of the Reichstag in Berlin, spinning a young boy again and again through the air in Red Square in Moscow, climbing on a hot day into the waterfall at the Place de la Concorde in Paris, and, as two angels in London, walking through the night of the City. The film begins with a text about improvisation by Jonas Mekas read by himself.

A filmic encounter with Brazil, which Aurand visited for the first time in September 2022 for screenings of her films and Margaret Tait’s in São Paulo and Rio de Janeiro. Aurand’s 16mm films are portraits of people and place, often prompted by the discovery and experience of travel. As George Clark has written, the journey is a cornerstone of Aurand’s filmmaking: "“Her work builds out from fragments, detours, refrains and returns; her camera picks up discarded gestures and suspends them in time. Films are always moving, always fleeting, Aurand’s work reminds us. These qualities are as fundamental to lived experience as they are to the cinema. Throughout Ute Aurand’s work we encounter a world animated by her mobile and dynamic camera, following, chasing, leading and dissecting space."

2 minute film about two Japanese ladies.

A walk, a moment at the beach... And the Japanese filmmaker Utako Koguchi behind the heard piano.

In Aurand’s signature diaristic form, roses in bloom, farm animals, Orkney landscapes, and scenes of the late filmmaker Margaret Tait having tea are rendered through expressive Bolex movements as well as the director’s active camera, and punctuated by abstract swaths of saturated and shifting colors. The film is an homage to Tait, whom Aurand visited in Orkney.

Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.

Filmed in Switzerland and released as part of a triptych with A Walk, Zuoz features the filmmaker Robert Beavers skating on ice. Beavers represents another “new beginning” in Aurand’s practice. She recalls seeing his work in the late ‘90s and “enter[ing] a space beyond the images where one is entirely within oneself and simultaneously in the world … where one is simply present and receives the full gift of the film.”

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

Bärbel and Charly is a documentary that explores the unique relationship between Bärbel, a strong-willed woman, and Charly, her loyal pet dog. Through intimate interviews and footage from their everyday lives, the film delves into the deep bond that forms between humans and animals.

For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

Two memories from a longer visit to New England in Autumn 2012: a group of elderly ladies playing bridge followed by the stormy ocean at Cape Cod in Winter while listening to Etienne Grenier's music practice.

Ute Aurand’s Hanging upside down in the Branches is a gentle, generous and unsparing portrait of the filmmaker’s parents, whose passing is marked by remembrance and the loving recording of them - Andréa Picard

A short portrait of the filmmaker Renate Sami.

Shot on 16mm, Ute Aurand documents the archive of Kino Arsenal - Institut für Film und Videokunst before its contents underwent a thorough 'repotting' operation

For a year at monthly intervals, Ute Aurand and Bärbel Freund filmed In the Garden, a lovely portrait of a Potsdam-Bornim garden designed in 1910 by gardener and philosopher Karl Foerster. An extraordinary variety of flora, natural lighting effects, textures and colors unfold in this gentle, expertly edited film, which forms a bridge between the natural world and the individual soul.

Portrait of Canadian artist Susan Turcot in 1993 and 2011.