The Empty Center

Steyerl’s film traces the impact of an influx of transnational companies on the city dwellers of Berlin in post-reunification Germany. The effect of the changing economy and politics on the city and its inhabitants is echoed through their physical relocation to its outer edges. In 1990, squatters proclaim a socialist republic on the death strip. Eight years later, the new headquarters of Mercedes Benz are built in the same location. The film makes use of slow super-impositions to uncover a journey across changing architectural and cultural boundaries. "The Empty Centre" tries to give a voice and a history to those who continue to be marginalised by the simultaneous dismantling and reconstruction of the borders which they are trying to cross. Steyerl’s film traces the impact of an influx of transnational companies on the city dwellers of Berlin in post-reunification Germany. The effect of the changing economy and politics on the city and its inhabitants is echoed through their physical relocation to its outer edges. In 1990, squatters proclaim a socialist republic on the death strip. Eight years later, the new headquarters of Mercedes Benz are built in the same location. The film makes use of slow super-impositions to uncover a journey across changing architectural and cultural boundaries. "The Empty Centre" tries to give a voice and a history to those who continue to be marginalised by the simultaneous dismantling and reconstruction of the borders which they are trying to cross. Steyerl’s film traces the impact of an influx of transnational companies on the city dwellers of Berlin in post-reunification Germany. The effect of the changing economy and politics on the city and its inhabitants is echoed through their physical relocation to its outer edges. In 1990, squatters proclaim a socialist republic on the death strip. Eight years later, the new headquarters of Mercedes Benz are built in the same location. The film makes use of slow super-impositions to uncover a journey across changing architectural and cultural boundaries. "The Empty Centre" tries to give a voice and a history to those who continue to be marginalised by the simultaneous dismantling and reconstruction of the borders which they are trying to cross. Steyerl’s film traces the impact of an influx of transnational companies on the city dwellers of Berlin in post-reunification Germany. The effect of the changing economy and politics on the city and its inhabitants is echoed through their physical relocation to its outer edges. In 1990, squatters proclaim a socialist republic on the death strip. Eight years later, the new headquarters of Mercedes Benz are built in the same location. The film makes use of slow super-impositions to uncover a journey across changing architectural and cultural boundaries. "The Empty Centre" tries to give a voice and a history to those who continue to be marginalised by the simultaneous dismantling and reconstruction of the borders which they are trying to cross.