»Faust Sonnengesang I-IV« Ouvertüre, Europa, Amerika, Asien Und Faust Sonnengesang Triptychon

In both words and pictures the filmic poem “Faust Sonnengesang” resembles an opening fist, with each finger representing a continent. Contrary to the prevailing culture of separation and division, “Faust Sonnengesang” deliberately shows what people and cultures have in common – if you wish, as an alternative to globalisation: instead of superimposing one’s own images on foreign cultures, the film poem summons inherent images of their nature and its own which meet in the head of the viewer and create an image of the world distinct from those that have gone before through an equal dialogue. “Faust Sonnengesang” is a gesture of enlightenment, whose symbol is the sun and conveys the spirit of the Hymn to the Sun by the Pharoah Akhenaton, the first hymn of the now, in which the sun appears as a symbol of all-encompassing, live-giving energy. For Werner Fritsch, suggestion is made simultaneously through words, images and sounds. These form clusters of powerful simultaneity, an intoxicating synaesthesia that refuses to shy away from pathos in order to bewitch, invoke and transport spectators into ecstasy. Beauty plays a key role here. It overwhelms, dissolves or pushes back borders. Following the triptych “Faust Sonnengesang” which was seen as an installation at the Bauhaus-Museum during Kunstfest 2021, Werner Fritsch now returns to Weimar with the latest version of his ongoing work in progress for a one-off 15-hour screening. The audience may enter and leave the cinema at any time.

In the presence of director Werner Fritsch and leading actress Bae Suah.