Online catalogue / Albert Sackl :

In the Open
Im Freien
AT / 2011
23 min.

The title In the Open should be taken literally as the camera turns to details of a meager and untouched landscape, which serves as projection surface for exploring the cinematic apparatus, and (de)constructing cinematic space, time, and movement.
Albert Sackl analyzes these connections in the framework of a radical experimental set-up: filming took place with a continuous time-lapse interval of one image every three minutes during the northern summer until the start of autumn. Meeting in a process of analogue linearity, which condenses nearly three months into 23 minutes, are camera and landscape, enormous technical precision, and phenomena such as light, shadows, weather, color, surface textures, and the nights that continually break in and grow continually longer during the process. This encounter of predictable, metrically defined structure and unpredictable natural processes uses the surroundings without becoming lost in them or succumbing to their aesthetic fascination.
With the landscape as a site of both projection and action, it seems inevitable that people will invade this cinematic space. At first cautiously, barely perceptibly, a foot becomes visible for a moment, somewhat later, a fleeting hand. The human, a foreign body in this place, seeks a relationship to the landscape and the camera. This presence becomes continually stronger. Surfacing are also objects: a mirror, a cube, individual elements of an architectural structure, confronting nature with manmade things. And in the end, as a space forms from these diverse objects, the title In the Open seems to revert to its opposite; a space which may well be a projection room, a material reference to the ever defining apparatus: that of the cinema.
(Barbara Pichler)

The film opens with a deserted landscape that delivers overwhelming aesthetic material. Shooting took place in a remote area in Iceland with a computer-controlled 16 mm camera that exposed one frame every three minutes. As a result, some three months were compressed into 23 minutes. An affinity to structural film of the 1960s and 1970s is evident, particu-larly to British landscape films. However, in spite of the undeniable interest shown in topographic conditions of light, shade, weather and the color and texture of the landscape, Sackl does not permit us to succumb to the fascination of natu-ral phenomena. This landscape is intruded upon by human bodies and various objects. (Barbara Pichler)

A film by:
- Albert Sackl

- Avantgarde/Arts

original language:
- no dialogue

Available Prints:
- 16 mm
- 35 mm

price: 92 EUR


rental conditions

more on Austrian Independent Film & Video Database:
- Credits
- Festival placements
- Texte und Bilder
- Biographie: Albert Sackl