Hiding in the Lights

"Masks are made of various quality materials: cardboard, velvet, flesh, the word. The flesh mask and the verbal mask are worn in all seasons," wrote the artist and master of disguise playing with identity Claude Cahun in 1926. At the same time, this sentence could be read as a stage direction in Katrina Daschner's HIDING IN THE LIGHTS. For in the streamlined concluding version of the eight-part series, loosely based on Arthur Schnitzler's "Traumnovelle," each episode is devoted to a different richly detailed staging of places and bodies, costumes and masks, which unfolds in an elaborate, materially obsessive and fascinating way. (CLAUDIA SLANAR, DIAGONAL 2020)

"This is what cinema is like, if you're lucky: sensual, stubborn, smart, shocking. A medium of political and aesthetic intervention." STEFAN GRISSEMANN, PROFIL