1/2 Mensch

This one hour feature just has to be seen. Director Sogo Ishii filmed the famous German Band "Einstürzende Neubauten" in a deserted factory loft (the perfect industrial setting for their music). It all looks very rough as you would expect it from one of Japans most influential filmmakers (his influence on Shinya Tsukamoto cannot be ignored). This film is rarely to be seen. If you get the possibility to watch it, do not hesitate. The images and the experimental sounds build up a perfect connection, which you do not get that often in concert documentaries.

This nowadays rather unavailable piece of film is a great introduction and statement of the musical and visual artistry of Neubauten and their Japanese collaborate in the mid 80s. This ought to be made available shortly on DVD, if only the band, the director and the labels could find the sensibility to get along, and provide the growing number of fans a well deserved release. According to the band, their company (mute) don't find it a worthwhile investment (as they claimed in 1997-Quart Festival, Norway).

Noise band Einsturzende Neubauten, filmed performing in a seemingly post apocalyptic abandoned warehouse in Japan, which looks as though the entire building may collapse around them at any minute during the film. Completely devoid of anyone in the building to interfere, the only "audience" is the ghosts of the old building and its machinery. Anything within reach of the band could be, and was, used as instruments: springs and coils, sheet metal, saws, hammers and mallets, concrete blocks, even a shopping cart.

Film slightly reminds me, in principle anyway, of Pink Floyd's Live at Pompeii. Floyd filmed their performance at an empty amphitheatre for the music to stand or fall on its own merit, Neubauten filmed their performance in a completely empty and crumbling warehouse, without any audience and let the music stand or fall on its own merit.

Personally I'm more of a fan of Neubauten's more recent music (Ende Neu, and Tabula Rasa in particular) and this film was marred by putting its two best songs (Armenia, from Zeichnungen des Patienten O. T. (Drawings of Patient O. T.), and Sehnsucht, from Kollaps) at the very start of the film.

It's interesting to watch this haunting, mesmerising, and genuinely creepy mini movie in segments at a time; its oppressiveness and gloominess wears a person down after a while, and made me want to shower afterward.