{"id":1324,"date":"2025-03-18T12:52:30","date_gmt":"2025-03-18T11:52:30","guid":{"rendered":"https:\/\/hermann.lewetz.at\/?page_id=1324"},"modified":"2025-06-25T20:59:50","modified_gmt":"2025-06-25T18:59:50","slug":"filmographie","status":"publish","type":"page","link":"https:\/\/hermann.lewetz.at\/en\/filmographie\/","title":{"rendered":"filmography"},"content":{"rendered":"
<\/span>
\n

filmographie:<\/h2>\n\n\n\n
<\/div>\n<\/div><\/div>\n\n\n\n
<\/div><\/span>
\n

2025<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.navigatorfilm.com:<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(assistant editor)<\/h6>\n\n\n\n

AT 2025, DCP, 80 min, colour, documentary film<\/h4>\n\n\n\n

written & directed by Johannes Holzhausen<\/h4>\n\n\n\n

Karl-Markus Gauss is best known for his travel writing about Europe's minorities. The documentary film Schlendern ist mein Metier<\/em> accompanies the writer to these people and their places and observes him as he reflects and writes in his native Salzburg. The stories that are told to him and the stories that he tells are a fight against forgetting, especially in the face of his own transience.<\/p>\n\n\n\n

Credits:<\/summary>
\n
\n
\n

Regie und Buch<\/strong>: Johannes Holzhausen<\/p>\n\n\n\n

Kamera<\/strong>: Joerg Burger<\/p>\n\n\n\n

Ton<\/strong>: Raphael Maier, Andreas Hamza<\/p>\n\n\n\n

editing<\/strong>: Dieter Pichler<\/p>\n\n\n\n

Schnittassistenz<\/strong>: Hermann Lewetz<\/p>\n\n\n\n

Dramaturgische Beratung<\/strong>: Constantin Wulff<\/p>\n\n\n\n

Herstellungsleitung<\/strong>: Monika Lendl<\/p>\n\n\n\n

Produzent(en)<\/strong>: Johannes Rosenberger, Johannes Holzhausen, Constantin Wulff<\/p>\n<\/div>\n<\/div>\n<\/div><\/details>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2024<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(editing)<\/h6>\n\n\n\n

AT 2024, 8 min<\/h4>\n\n\n\n

KuratorInnen: Lilli Bauer und Werner T. Bauer<\/h4>\n\n\n\n

Ein Film f\u00fcr das Museum „rotes Wien, Waschsalon“ im Rahmen der Sonderausstellung „K\u00e4the Leichter. Und die Vermessung der Frauen“.
https:\/\/dasrotewien-waschsalon.at\/sonderausstellung\/kaethe-leichter-und-die-vermessung-der-frauen<\/a><\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n

Click on the image to open a page on
www.vimeo.com (password required):<\/p>\n\n\n\n

\"\"<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2023<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com (password required):<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

AT 2023, DCP, 15 min, colour, short documentary<\/h4>\n\n\n\n

written & directed by: Gabriele Mathes<\/h4>\n\n\n\n

Using the example of a specific grocery shop: Can we prevent the death of small shops? How far are we prepared to go for this? Who is responsible for the rescue? The politicians or the customers?<\/p>\n\n\n\n

Im Verleih von Sixpackfilm<\/a><\/strong><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com (password required):<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(editing)<\/h6>\n\n\n\n

AT 2023, DCP, 86 Min, Farbe, Dokumentarfilm<\/h4>\n\n\n\n

written & directed by Monika Stuhl<\/h4>\n\n\n\n

Ein Film \u00fcber ein Wohnprojekt f\u00fcr Menschen mit psychischer Beeintr\u00e4chtigung, das weit \u00fcber das Wohnen selbst hinausgeht.<\/p>\n\n\n\n

Im Leben bleiben <\/summary>
\n

\u2013 das ist ein schlichter, sch\u00f6ner Gedanke, der gut als Leitbild dienen k\u00f6nnte f\u00fcr die \u201eStadt der Sonne\u201c, eine in Perugia beheimatete Stiftung, die f\u00fcr Menschen mit psychischer Beeintr\u00e4chtigung Projekte entwickelt, die sich um das Leben im eigenen Zuhause drehen. Unter dem Schirm von \u201eLa citt\u00e0 del sole\u201c formen sich Zweckgemeinschaften, wo Menschen mit und ohne Behinderungen das Zusammenleben erlernen, mietkostenbefreit und unter der Supervision von p\u00e4dagogischem und klinischem Personal.<\/p>\n<\/div><\/details>\n\n\n\n

Im Verleih von Sixpackfilm<\/a><\/strong><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2021<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.berghammerfilm.at<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(editing)<\/h6>\n\n\n\n

AT 2021, 1 min, Trailer<\/h4>\n\n\n\n

directed by Karin Berghammer<\/h4>\n\n\n\n

Body fluids as a commodity.
Trailer for the documentary film of the same name (56 min)<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2020<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(assistant editor)<\/h6>\n\n\n\n

AT 2020, AT\/DE, 94 min, HD, 16:9, Dolby 5.1, Documentary<\/h4>\n\n\n\n

written & directed by Harald Friedl<\/h4>\n\n\n\n

A film about the different philosophies of bread baking.<\/p>\n<\/div>\n\n\n\n

\n

Click on the image to open a page on
www.navigatorfilm.com<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2015<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com:<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

A 2015, DCP, short feature film<\/h4>\n\n\n\n

Buch & Regie: Gabriele Mathes<\/h4>\n\n\n\n

Feeling Doberman<\/strong> is a family horror film on thin ice: while director Gabriele Mathes<\/strong> stages a family in front of the camera, one wonders where the staging ends and the truth begins. Are these really her siblings, her mother, niece and nephew? Are the memories shared on camera real? The story of the starving pet, flat fur and milky eyes - just a script idea?<\/p>\n\n\n\n

Credits:<\/summary>
\n

Konzept & realisation: Gabriele Mathes<\/p>\n\n\n\n

Kamera: Hermann Lewetz, Hanna Huber<\/p>\n\n\n\n

Schnitt: Hermann Lewetz<\/p>\n\n\n\n

Ton: Lisa Weber, David Lewetz<\/p>\n\n\n\n

Musik: Claudia Martini, Klaus Kobald<\/p>\n\n\n\n

Sounddesign: Gabriele Mathes<\/p>\n\n\n\n

Darsteller\/innen: Walter Mathes, Brigitte Sch\u00f6llenberger, Maria Saturn, Josef Wimmer u. a.<\/p>\n<\/div><\/details>\n\n\n\n

Statements:<\/summary>
\n

<\/p>\n\n\n\n

A break in filming: the protagonists are making small talk, children are playing, a pug is snorting. The director briefs the mother on the upcoming scene, but she refuses to be bound and gagged. She doesn't understand her daughter's anger, she complains. Whether it is the film character's or her relatives' remains unclear. Just as the rest of the plot resists a clear distinction between play and life. Much has never been properly expressed, it is said. In fact, repressed emotions seem to translate themselves into the film shoot with every glance and every gesture; into a flatness that increasingly suggests anxiety in the ruthlessness of the hand-held camera and natural light. A subtly constructed chamber play about (familial) speechlessness, childhood trauma and sadism.<\/p>\n\n\n\n

(Diagonale Text)<\/p>\n\n\n\n

Feeling Doberman<\/strong> is a family horror film on thin ice: while director Gabriele Mathes<\/strong> stages a family in front of the camera, one wonders where the staging ends and the truth begins. Are these really her siblings, her mother, niece and nephew? Are the memories shared on camera real? The story of the starving pet, flat fur and milky eyes - just a script idea?<\/p>\n\n\n\n

Scene 1, living room: While the director discusses final role details with the protagonists, the mother is being made up in the background. She is supposed to play an old woman who cares for her daughter at home. But - according to the script - she is no longer able to do so herself and wishes the woman in need of help to die. Or that she at least goes into a home. \"I don't want to go to a home,\" protests the mother. \"But that's the way it is in the film,\" says the director sternly.<\/p>\n\n\n\n

Scene 2: In the foreground, the children are throwing Lego, off-screen you can hear the old mum screaming: \"Ow, ow, ow! I need help!!!\" The daughter continues to cut her hair impassively, her husband smokes: \"Should I go in?\" - \"Well, let's have a bit of a shout.\"<\/p>\n\n\n\n

It is an unspoken convention: families, children and old people are spared in mainstream cinema. Michael Haneke's Funny Games deliberately explodes its violence against a family into this safe assumption. Gabriele Mathes takes a side step. It's true that no one is physically harmed in the Doberman feeling. But just thinking about what it would be like to give free rein to their aggression, to bind and gag their mother so that she doesn't whinge in the bed over there, drives rage and terror into the faces of those involved. And they are undoubtedly genuine.<\/p>\n\n\n\n

(Maya McKechneay)<\/p>\n\n\n\n

A break in filming: the protagonists are making small talk, children are playing, a pug is snorting. The director briefs the mother on the upcoming scene, but she refuses to be bound and gagged. She doesn't understand her daughter's anger, she complains. Whether it is the film character's or her relatives' remains unclear. Just as the rest of the plot resists a clear distinction between play and life. Much has never been properly expressed, it is said. In fact, repressed emotions seem to translate themselves into the film shoot with every glance and every gesture; into a flatness that increasingly suggests anxiety in the ruthlessness of the hand-held camera and natural light. A subtly constructed chamber play about (familial) speechlessness, childhood trauma and sadism.<\/p>\n\n\n\n

(Sebastian H\u00f6glinger, Diagonale-Katalog)<\/p>\n\n\n\n

My mum refused. She doesn't want to be bound, gagged and suffocated. Not even for this film. During the break in filming, Erna and Helmut play a game from my childhood. There can be a murder pit in every heart.<\/p>\n\n\n\n

(Gabriele Mathes)<\/p>\n\n\n\n

In Gef\u00fchl Dobermann, Gabriele Mathes pursues a very unconventional approach to filmmaking: the family was involved in her shoot and learns about the story scene by scene. The fact that her own mother does not necessarily play a nursing case who is gagged in front of the camera is a dialogue in itself.<\/p>\n\n\n\n

(Maria Motter, FM4)<\/p>\n\n\n\n

Urauff\u00fchrung: Diagonale 2015<\/p>\n<\/div><\/details>\n\n\n\n

Im Verleih von Sixpackfilm<\/a><\/strong><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2006<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com:<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(cutting advice)<\/h6>\n\n\n\n

A 2006, 35 mm, colour, 22 min<\/h4>\n\n\n\n

Buch & Regie: Gabriele Mathes<\/h4>\n\n\n\n

Normality in the seventies: The audiovisual memory economy with its cohorts of private filmmakers produced masses of images of the economic upswing and supposed petit-bourgeois family happiness: holidays by the sea, car trips to the Alps in Dirndl and Krachlederner, at home there was now a built-in wardrobe with a colour TV. Dad films most of the time. It could all have been so nice, but things go wrong: the carpentry business inherited from his grandfather is in the red and competition from mass production deals the company a fatal blow. The family falls into crisis and eventually the father collapses under the burden. Normality is unbearable.<\/p>\n\n\n\n

Gabriele Mathes\u00b4<\/strong> Found-Footage-Arbeit erz\u00e4hlt nur auf den ersten Blick eine tragisch endende Familiengeschichte. <\/summary>
\n

W\u00e4hrend eine emotionslose Sprecherin ein biografisch gef\u00e4rbtes, beklemmendes Sprachbild von hoher fotografischer Pr\u00e4zision entwirft, fassen die Super-8-Bilder ein irreduzibles Au\u00dfen, das nicht allein in der literarischen Beschreibung subjektiver Erinnerungsbilder aufgeht: Fragmente f\u00fcr eine \u00f6ffentliche Mikro-Wirtschaftsgeschichte. In der tangentialen Montage kontaminieren Bilder und Sprache einander, Andrea Sodomkas Soundscape treibt uns schmerzhaft leise in den audiovisuellen Riss in der Zeit. Im Unterschied zu so vielen ironisierenden Home-Movie-Samplern nimmt Mathes ihr Material als Symptom ernst. Was zeigt sich, was l\u00e4sst die Nichtsichtbarkeit erahnen, was ist verloren, was gerettet? Und vielleicht hat sich in den ausgewaschenen, besch\u00e4digten Affektbildern etwas erhalten, wohin die Sprache, die Trauerarbeit, nicht gelangen konnte; vielleicht ein Moment des Verdachts, vielleicht ein Moment des Gl\u00fccks. Doch wom\u00f6glich ist das Gl\u00fcck an einer Stelle aufgeblitzt, die niemand geplant und mit der niemand gerechnet hatte.
(Michael Palm)<\/em><\/p>\n\n\n\n


Der Film erz\u00e4hlt, wie sich das Ringen meines Vaters um das \u00dcberleben des vom Gro\u00dfvater gegr\u00fcndeten Betriebs, der nicht zu verhindernde Konkurs seiner M\u00f6belfirma, auf meine Familie ausgewirkt hat.
(Gabriele Mathes)<\/em><\/p>\n\n\n\n


Hinter dem Wald wird es hell. Mein Vater sitzt im Wagen und erinnert sich. Er ist zweiundzwanzig. Er ist mit dem Motorrad gekommen. Er steht vor dem Haus, in dem meine Mutter wohnt. Er raucht eine Zigarette. Er raucht mit der rechten Hand, seine Linke ist in Gips gepackt. Meine Mutter schaut den Gips an und fragt: Kannst du fahren?\u201c Mein Vater d\u00e4mpft die Zigarette aus. Mein Vater gibt Gas. Er f\u00e4hrt 14 Stunden lang. In Rimini halten sie an. Am Stra\u00dfenrand stehen Palmen. Meine Mutter legt ihre Arme um meinen Vater und k\u00fcsst ihn.
(Auszug aus dem Drehbuch)<\/em><\/p>\n<\/div><\/details>\n\n\n\n

Im Verleih von: Sixpackfilm<\/a><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

2000<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com:<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

A 2000, Digi Beta, short feature film<\/h4>\n\n\n\n

Buch & Regie: Gabriele Mathes<\/h4>\n\n\n\n

Relationship crisis in front of the cinema...<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
<\/div><\/span>
\n

1999<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(light & editing)<\/h6>\n\n\n\n

AT 1999, 35mm, 11 min, B\/W, short feature film<\/h4>\n\n\n\n

written & directed by: Said Manafi<\/h4>\n\n\n\n
The tragic deportation of Marcus Omofuma.
Reenacted according to the published police reports.<\/summary>
\n
\"\"<\/figure>\n<\/div><\/details>\n<\/div>\n\n\n\n
\n

Click on the image to open a page on
www.vimeo.com (password required):<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

1996<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.mediathek.at<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(editing)<\/h6>\n\n\n\n

AT 1996, Digi Beta, colour, 58 min.<\/h4>\n\n\n\n

Scientific author: Werner Zipps<\/h4>\n\n\n\n

The history of colonialism, religious diversity with African roots and religious celebrations on the Caribbean island of Cuba.<\/p>\n\n\n\n

<\/div>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

1995<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

AT 1995, 16mm, 34 min, colour, short fiction film<\/h4>\n\n\n\n

written & directed by Gabriele Mathes<\/h4>\n\n\n\n

A fairy tale...<\/p>\n<\/div>\n\n\n\n

\n

Click on the image to open a page on
www.vimeo.com.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.mediathek.at<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(editing)<\/h6>\n\n\n\n

AT 1995, 16 mm, colour, 32 min<\/h4>\n\n\n\n

Scientific author: Reinhard Kikinger<\/h4>\n\n\n\n

\"Biography of the Austrian professor of zoology Dr Otto Storch (1886-1951). His pioneering work in the development and application of high-frequency cinematography in the microscopic field is documented using excerpts from his original films.\" (Scientific Film Magazine No. 48\/49; February 1997; pages 43-60)<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

1993<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(camera)<\/h6>\n\n\n\n

AT 1993, S-VHS, F, 4 Min, Musikvideo<\/h4>\n\n\n\n

directed by Arno Aschauer<\/h4>\n\n\n\n

Music video for the song \"New Year\" by Reinhard Theiser.<\/p>\n\n\n\n

Credits:<\/summary>
\n

composition & arrangement: Reinhard Theiser
text: Peter Hiess
camera: Hermann Lewetz
editing: Ivo Taschner
Equipment: Sabine Pleyel
written & directed by: Arno Aschauer<\/p>\n<\/div><\/details>\n<\/div>\n\n\n\n

\n

Click on the image to open a page on
https:\/\/www.youtube.com\/watch?v=BecJkhESEsI<\/a>.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
<\/div>\n\n\n\n
\n
(director & camera & editing)<\/h6>\n\n\n\n

AT 1993, Beta SP, F, 2 Min, Musikvideo<\/h4>\n\n\n\n

written & directed by Hermann Lewetz<\/h4>\n\n\n\n

Music video for the song \"Settimana Prossima\" by Novi Sad.<\/p>\n<\/div>\n\n\n\n

\n

Click on the image to open a page on
www.vimeo.com.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

1992<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

AT 1992, 16mm, colour, 32 min, short fiction film<\/h4>\n\n\n\n

Buch & Regie: Gabriele Mathes<\/h4>\n\n\n\n
Press reviews: <\/summary>
\n

„Ein anarchisch-provokantes Beispiel rabiaten Feminismus, aber voll Humor und beabsichtigten Br\u00fcchen.“
(Rudolf John, Kurier)<\/p>\n\n\n\n

„Ein b\u00f6ser Film, der mit der Realit\u00e4t durchaus in Verbindung steht und seine kleinen dramaturgischen Unebenheiten via Drehbuch- Extravaganzen vergessen l\u00e4sst. Die Damen, der Kalauer und die Sprengs\u00e4tze: violent amusement, wie gesagt.“
(Stefan Grissemann, Diagonale Katalog)<\/p>\n\n\n\n

„Eine in Musik-und Schnittrhythmik mitunter mitrei\u00dfende Science-Fiction Groteske um drei TV Journalistinnen, die Frauenm\u00f6rder interviewen. Auch wenn die Verkn\u00fcpfung von zum Teil plakativen feministischen heavy issues (Gewalt gegen Frauen) mit dem Skurrilen in Darstellung und Dekor nicht immer gl\u00fcckt: ein schriller, nicht sehr (film-) akademischer Film.“
(Drehli Robnik, Falter)<\/p>\n\n\n\n

„Fetzige Songs sorgen f\u00fcr Stimmung, und so wie die Vielfalt der Schaupl\u00e4tze, das fantastische Set design und die Buntheit der Bilder die Schaulust befriedigen, so regt die Vielschichtigkeit der Thematik zur Reflexion an.“
(Elke Sch\u00fcttelkopf, Stimme der Frau)<\/p>\n<\/div><\/details>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
<\/div><\/span>
\n

1988<\/h4>\n<\/div><\/div>\n\n\n\n
\n
\n
\n

Click on the image to open a page on
www.vimeo.com<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n
(camera & editing)<\/h6>\n\n\n\n

AT 1988, 16mm, DCP, Farbe, 32 min<\/h4>\n\n\n\n

Written, directed, edited by: Gabriele Mathes<\/h4>\n\n\n\n

3 short portraits<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Durch Anklicken des Bildes \u00f6ffnet sich eine Seite auf www.navigatorfilm.com: (Schnittassistenz) AT 2025, DCP, 80 Min, Farbe, Dokumentarfilm Buch, Regie: Johannes Holzhausen Karl-Markus Gau\u00df ist vor allem f\u00fcr seine Reiseliteratur \u00fcber die Minderheiten Europas bekannt. Der Dokumentarfilm Schlendern ist mein Metier begleitet den Schriftsteller zu diesen Menschen und ihren Orten und beobachtet ihn bei seiner […]<\/p>","protected":false},"author":1,"featured_media":1048,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1324","page","type-page","status-publish","has-post-thumbnail","hentry"],"blocksy_meta":{"content_style_source":"inherit","styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"_links":{"self":[{"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/pages\/1324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/comments?post=1324"}],"version-history":[{"count":236,"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/pages\/1324\/revisions"}],"predecessor-version":[{"id":2254,"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/pages\/1324\/revisions\/2254"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/media\/1048"}],"wp:attachment":[{"href":"https:\/\/hermann.lewetz.at\/en\/wp-json\/wp\/v2\/media?parent=1324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}