Orphea

The ancient myth of musician Orpheus who wants to bring back his beloved from the underworld and who manages to win over the hellhound with the power of music dates back more than 2,000 years. When Khavn, Kluge, and the whole team were sitting together at the Venice Film Festival after the premiere of Happy Lamento the idea arose to make a film from this ancient story. Everyone agreed that it was sad that Orpheus had not really been able, after all the many attempts of this myth, to bring his beloved back to daylight. It was also incomprehensible to all present that such a natural gesture of turning to see the beloved, should be punished with her death. One would have to change the sexes: maybe an Orphea would be able to liberate her beloved from hell.
Music is an art born from Eve’s rib. In Manila, Khavn’s home city, Lilith Stangenberg goes through a hell. While passionately searching for her Eurydiko, he is already hot on her heels. At the same time in Central Europe: Orphea works „in the name of the revolution“ not only for the liberation of her beloved but for the return of all dead: for the utopia of Apokatastasis Panton. This utopia goes as well with Silicon Valley of today as with the program of the revolution in 1917. Nothing in Orphea is fixed, all is rythm. Orphea has left behind the ancient tragedy with its standards, believing in the mammoths of fantasy, the power of music, and the capacity for love, which are the cornerstones of all cinema. (Rapid Eye Movies)