Andrea Luka Zimmerman Movies, TV Shows, and Filmography
Andrea Luka Zimmerman
Directing
Biography
Artist and filmmaker Andrea Luka Zimmerman grew up on a large council estate in Munich and left school at 16. After moving to London in 1991, they studied at Central St. Martins. They won the Artangel Open Award for their collaborative feature drama Cycle (2018) with Adrian Jackson (Cardboard Citizens).
Filmography Movies
Acting
Art Class
Art Class (2020, 49 mins) is a filmed performance lecture playing on, and exploring, the perennial tension between the two key words in its title. It uses the tropes of scholarly presentation and personal confession alongside extracts from the artist’s work, guest interventions, martial arts and meditation exercises and evidentiary found material. The film tests the limits of access that working-class artists have to cultural production and to the relevant institutions circulating these outcomes. Alternately playful and provocative, serious and satirical, Art Class favors wit over weaponizing and reflection over rhetoric but does not pull its punches when it comes to the real obstructions to working class creative progress, or to the strategies necessary to overcome such outmoded hindrances.
Birdboy and the General
Filmed in parks and markets within and beyond Tbilisi, and also in the ancient hermetic cave networks of Davit Gareja on the desert border with Azerbaijan, Birdboy and the General unfolds within a specifically Georgian reality to tell a larger story of place and purpose, control and change, aspiration and refusal. Given life by the evocative creations of Abkhazian puppeteer Denis Gonobolin, it speaks to forms of belonging rooted and realised in imagination, and looks to celebrate the potency of play, something slightly absurd, a skewed juxtaposition and leap of faith, to redirect the course of events, whether personal or public.
Three Ways of Returning
Three attempts at reconnecting with often traumatic pasts, all leading to flights from home and the need for personal reinvention. A documentary triptych of many layers and emotions, whose parts connect with each other in unexpected ways.
By Our Selves
Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.
Production
The Last Biscuit
The Last Biscuit is a film essay on theatre, memory and desire and the “theatre” of the city. It forms part of a changing/developing performance piece Dirty Linen: an Evening with Paul Hallam, staged at various venues, including The Cochrane Theatre, London in 2006.
The Last Biscuit
The Last Biscuit is a film essay on theatre, memory and desire and the “theatre” of the city. It forms part of a changing/developing performance piece Dirty Linen: an Evening with Paul Hallam, staged at various venues, including The Cochrane Theatre, London in 2006.
Civil Rites
A cine-poem, taking as a starting point Martin Luther King's 1967 speech, given on receipt of his honorary doctorate from the University of Newcastle, and visiting key locations in the city's history of civil resistance.
Taşkafa, Stories of the Street
Taşkafa is a real dog and also a legend on the streets of Istanbul. John Berger begins Taşkafa’s story, reading from his novel, King, the story of the disappearance of a community told from a dog’s perspective. The area’s ordinary people – taxi drivers, shopkeepers, street traders – care deeply about the welfare of the city’s street dogs and they tell us stories about Taşkafa and their other canine neighbours. The animals are a symbol of community living, where people (and dogs) look out for each other, but this is a community in transition; one from which dogs are starting to be expelled. Eccentric, amusing and very warm, the film is a powerful indictment of the impact of global politics and the economic appropriation of public space but, even more, it is a tribute to both the spirit of resistance and to city life that can accommodate people and dogs together.
Taşkafa, Stories of the Street
Taşkafa is a real dog and also a legend on the streets of Istanbul. John Berger begins Taşkafa’s story, reading from his novel, King, the story of the disappearance of a community told from a dog’s perspective. The area’s ordinary people – taxi drivers, shopkeepers, street traders – care deeply about the welfare of the city’s street dogs and they tell us stories about Taşkafa and their other canine neighbours. The animals are a symbol of community living, where people (and dogs) look out for each other, but this is a community in transition; one from which dogs are starting to be expelled. Eccentric, amusing and very warm, the film is a powerful indictment of the impact of global politics and the economic appropriation of public space but, even more, it is a tribute to both the spirit of resistance and to city life that can accommodate people and dogs together.
Art Class
Art Class (2020, 49 mins) is a filmed performance lecture playing on, and exploring, the perennial tension between the two key words in its title. It uses the tropes of scholarly presentation and personal confession alongside extracts from the artist’s work, guest interventions, martial arts and meditation exercises and evidentiary found material. The film tests the limits of access that working-class artists have to cultural production and to the relevant institutions circulating these outcomes. Alternately playful and provocative, serious and satirical, Art Class favors wit over weaponizing and reflection over rhetoric but does not pull its punches when it comes to the real obstructions to working class creative progress, or to the strategies necessary to overcome such outmoded hindrances.
Estate, a Reverie
Examines the resilience of residents who are profoundly overlooked by media representations and wider social responses. Interweaving intimate portraits with the residents' own historical re-enactments, landscape and architectural studies and dramatised scenes, the film asks how we might resist being framed exclusively through class, gender, ability or disability, and even through geography.
The Last Biscuit
The Last Biscuit is a film essay on theatre, memory and desire and the “theatre” of the city. It forms part of a changing/developing performance piece Dirty Linen: an Evening with Paul Hallam, staged at various venues, including The Cochrane Theatre, London in 2006.
Estate, a Reverie
Examines the resilience of residents who are profoundly overlooked by media representations and wider social responses. Interweaving intimate portraits with the residents' own historical re-enactments, landscape and architectural studies and dramatised scenes, the film asks how we might resist being framed exclusively through class, gender, ability or disability, and even through geography.
Wayfaring Stranger
A child is drawn to the stillness of nature beyond a city. A teenager, rising from sleep in a thicket, makes their way back to a trailer: to warmth, a caretaker, a dog. But the thudding on hard concrete from the highway above is no comfort. A tree envelopes a fence with its growth – grasses sprout through cracked and decaying industry. The individual is searching, pushing forward through landscapes and time. Adulthood leads into the forest.
Gallery
