WIEDER HOLUNG is four times three letters, four syllables or two words; four fields, two lines, black or white, moving drawings.
WIEDER HOLUNG can be described as a sprouting series of differentiations and reversals. The basis is simple, while simultaneously the consequences are comprehensive. Everything is drawn, everything is animated, everything is either black or white. Within these guidelines for the film, all fixed qualities are abrogated, even a constant like the woman, the "heroine" of WIEDER HOLUNG is subject to transformation and transforming moods. This may be read as threatening. WIEDER HOLUNG begins as a nightmare and subsequently switches between apocalyptic phantasies (things and spaces breathe, bodies are formless masses, wounds bleed and shrieks explode) and the commonplace, to some extent documentary, observation of details and movements such as lighting a cigarette from the pilot light of the gas water heater or replaying the calls on a telephone answering machine.
One thing soars into the other. Flying fork attacks are echoed later in those just quietly wriggling. Room decoration finds its counterpart in the drain of the shower. Deputising, the mixer attacks the toaster. The heroine gives birth to her own double.
Just as complex sequences of movement are communicable through minimal changes in black and white (leaving a room is marked by a flash of white in the darkness and the descent of a lift by a black stripe, from a crack in the door, moving downwards), the ever-present opposites of dream and reality, man and woman, young and old, living and dead resist one another until the redemptive transformation of the repetition. (Isabella Reicher)