Three Stories

The connection between these three short films is initially indicated by their sound and music: In all three films, Lee Anne Schmitt does without direct sound and dialogue, letting the music of Jeff Parker accompany the images. In the first miniature, Schmitt films graves from the American Indian Wars as silent witnesses of a past that have left their traces on the collective American consciousness. Subsequently, we see blackandwhite street scenes in Hollywood, which are followed by almost familiar images – a garden bench, a bouquet of flowers. Thus history, the public and the private form a new, abstract and yet tangible unity. The connection between these three short films is initially indicated by their sound and music: In all three films, Lee Anne Schmitt does without direct sound and dialogue, letting the music of Jeff Parker accompany the images. In the first miniature, Schmitt films graves from the American Indian Wars as silent witnesses of a past that have left their traces on the collective American consciousness. Subsequently, we see blackandwhite street scenes in Hollywood, which are followed by almost familiar images – a garden bench, a bouquet of flowers. Thus history, the public and the private form a new, abstract and yet tangible unity. The connection between these three short films is initially indicated by their sound and music: In all three films, Lee Anne Schmitt does without direct sound and dialogue, letting the music of Jeff Parker accompany the images. In the first miniature, Schmitt films graves from the American Indian Wars as silent witnesses of a past that have left their traces on the collective American consciousness. Subsequently, we see blackandwhite street scenes in Hollywood, which are followed by almost familiar images – a garden bench, a bouquet of flowers. Thus history, the public and the private form a new, abstract and yet tangible unity. The connection between these three short films is initially indicated by their sound and music: In all three films, Lee Anne Schmitt does without direct sound and dialogue, letting the music of Jeff Parker accompany the images. In the first miniature, Schmitt films graves from the American Indian Wars as silent witnesses of a past that have left their traces on the collective American consciousness. Subsequently, we see blackandwhite street scenes in Hollywood, which are followed by almost familiar images – a garden bench, a bouquet of flowers. Thus history, the public and the private form a new, abstract and yet tangible unity.