The mise-en-scène of a room stripped down to a table, stool and a lamp. The small space, lit inside, recalls a magic box that makes us wonder but upon entering it, irritation is stirred. The light and the sound (taken from Truffaut's "Nuit Américaine") is cut off. At the same time, the lamp above the table casts a light onto a cup filled with water. Only vaguely discernible underwater images, enigmatic visions, faint and futile, make you stand still in order to watch attentively the moving images. But the mise-en-scène continues and the director shouts "Cut!" Lights and sounds are turned back on. What's going on? You move and the image reappears. Whatever you see, it has the quality of a treasure which, perhaps, Norbert Meissner is only reluctantly presenting to the other. His strategy is a seductive paradox: we succeed in "reading" the image only through moving our point of view. Standing still for contemplation is the death of the image.
"Waterproof for Uschi" is a very personal work, the backside of the politically engaged media criticism Meissner has become widely known for.
i video channel, i audio channel, 1 projector, i table, 1 cup