N I H I L , or All the Time in the World

NIHIL, oder Alle Zeit Der Welt (or All The Time in The World)
NIHIL maintitle
16mm; 54min; b/w; West-Berlin 1988

PREMIERE: Hofer Filmtage 1987

PRIZES: “Best Filmmusic – 2nd Price” NINO ROTA-Festival, Trossingen 1989, – “Honorable Jury-Mention” Maritime Filmtage, Wilhelmshaven 1989

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Summer 86
The ideas for the script were created in a couple of nights. Usually, Isat in the same corner at “Hansa-Studio”. Bands like “Einstuerzende Neubauten”, “Nick Cave & The Bad Seeds” and “Crime and the City Solution” were recording their albums after another. I only had to close my eyes and the projector was running, like weeds images grew emberantly to the background of the new sounds. I felt the mood, the quiet-intensive atmosphere that the film was to carry with it. The parabel and the baladesque was created. The expressive strength and poetry of the picture was to be more important than the story and action.

No reality, no contemporary was to be shown directly, but only to be seen in the presence of the actors faces. No cars, no people, no Berlin! Still, WestBerlin was to be present throughout the film, and no other city. The feeling and the conception of the world shown could have only been created here, at the end of the 80s. Small groups develop everywhere, energies which move forward desperatly. Anywhere. An illusion of losers who become heroes. No aim (which?) is relevant anymore. Only the movement…” (Uli M Schueppel, Excerpts from “Chonicle of an unexplored film”, 1988)

http://www.deutschlandfunk.de/musik-und-fragen-zur-person-der-filmemacher-uli-m-schueppel.1782.de.html?dram:article_id=299646

press quotes

“… The emotional feeling it conveys, generates… defiance against resignation, from strength to resistance. But the film doesn’t deceive: People create their idols in the same manner as they create hope, utopia, illusion. In NIHIL the framework is visible: As a construction to recognize the dream – as dreamed. Special praise also for the fact, that it makes one again remeber what a spezial meaning the colour black has for the cinema!”

Dr. Norbert Grob (Jury Member, Maritime Filmtage)

“… Almost nothing is explicit, everything is a determination of the atmosphere, dark, morbid, mysterious, religious, mystic, poetic. NIHIL from a film school student… Its a type of underground Tarkowskij, without imitating the already known, or even quoting it.”

Der T agesspiegel (9.2.88)

“Schueppel knowingly latches on to the traditional photographic build up and picture formation as well as an expressionistic form of storytelling. His film is made up of a strong expressive cadrage and perspectives that relay to the viewer a feeling of gratitude that film as a mdium can have such an aestetic influence on our sense of vision. It is definitely not one of those visual atrocities made for the masses.”

“Schueppel knowingly latches on to the traditional photographic build up and picture formation as well as an expressionistic form of storytelling. His film is made up of a strong expressive cadrage and perspectives that relay to the viewer a feeling of gratitude that film as a mdium can have such an aestetic influence on our sense of vision. It is definitely not one of those visual atrocities made for the masses.”

Filmfaust (march 88)

“Cultish – worth seeing! A break fom the outdated, boring narrative cinema… DFFB-student Uli M Schueppel shows us that something new and innovative can come out of that… A completely new form of musical film work an a new form that is not only a back-ground for film-music…”

TIP (No. 23; 88)

Between times – A ballad, a dramatic (film-)poem, subdivided into verses. The style is not regulated by the content, but is just as important as the individualistic treatments, by the expressive strength, almost expressionistic black and white photography, sombre music… which border on surreal, exaggerated picture symbolism, the resigned atmospere… A film between times… between tradition and avantgarde (…) and a film about times, where the time planes flow into one another and ultimately mingle incoherently.”

ZITTY (no.23; 88)

“Murnau goes underground!
NIHIL is a notable work by young DFFB student Uli M Schueppel. Morbid, black and white… Through ist expressive, piecing, intensity – aided by Alexander Hacke’s musical poignancy – the film mirrors a feeling of life in this age.”

Volksblatt Berlin (5.11.88)

“The world and its security fall apart. In NIHIL the atmospere of hopelessness is not mouthed through dull lethargy, but with a concentrated, almost minimalst mystique. The film formulizes, leaves nothing to chance, but it doesn’t explain either. A short film: 50 mins, which are to create a world…”

Tagesspiegel (5.11.