Zetteldämmerung

It was at the end of summer 1978, back in Vienna, when I first met Alfred Kaiser. Until then he had made three films and did finally agree to make a fourth one together with me. I had the idea that I would be on the move again with my poem scraps; in a last, deliberate affliction during a day by day journey through German-language cities. And I imagined, that the rolling camera could re-narrate the optical part of the scrap proceedings and that she would finally singe the scrap-stories out of my soul. November 8, 1978 we took a train together with 100.000 scraps and the film equipment and picked up Michael Schönemann at the Wuhrmühle. From there the three of us went on with the car to Munic, Augsburg, Stuttgart, Baden-Baden, Frankfurt, Kleve, Köln, Rotterdamm, Würzburg and back. Without any comprehensiveness for setting up the camera, looking for a place to stay, finding the way and without any preparations against the invasion of winter.

(Christian Ide Hintze, 1979)


A film report on the unconventional bard and "Post-it poet" Christian Ide Hintze.
Hintze represents a principle and a bundle of facts. He’s the result of 1.2 million physical contacts. He communicates information, poems, aphorisms and microscopic fragments of thoughts hand to hand, on small pieces of paper that record his vision; reports on the present state of affairs. The Austrian filmmaker Alfred Kaiser is Hintze’s opposite: He doesn’t look for truth, but film truth. Still, he turned Hintze and his forays into a film. Their meeting is one of those inexplicable events that take on a motivation afterward, so they don’t seem to be coincidences.

(Herbert Holba)