Robolove

ROBOLOVE, 2019, 79’

“By giving space to different voices, Arlamovsky creates a dialogue between technological enthusiasm and ethical questions. The difference between those two currents can best be simplified by two slightly varying questions: what makes us human and what do people want to achieve in the 21st century?”

– Patrick Holzapfel, Viennale 2019
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FATHER, MOTHER, DONOR, CHILD, 2017, 52'

“At the beginning of the 21st century more and more people who are unable to have children turn to assisted reproductive medicine. The film gives a voice to the people affected by third party reproduction, including donor-conceived adults, sperm and egg donors, sperm donor clinic directors, and parents. Maria Arlamovsky talks to those who know best: people who are actually living these experiences.”

– Autlook Filmsales
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FUTURE BABY, 2016, 91’

“Are babies becoming a commodity? That’s one of the unsettling questions posed by Future Baby, Maria Arlamovsky’s frontline report on the state of reproductive medicine. The Vienna-based filmmaker traveled the world to speak with people directly involved in or affected by the new world of baby-making, among them physicians, researchers, patients and egg donors. From microscopic views of in vitro fertilization to the tangled delivery-room dynamics of a surrogate pregnancy, she’s compiled a wide-ranging and incisive look at the ways that a fundamental aspect of being human is changing.”

– Sheri Linden, The Hollywood Reporter
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LOOKING FOR QI, 2011, 57’

"With this film, which I completed as part of my master's thesis in Intercultural Studies, I attempted to step out of the duality of "us and them" that underlies intercultural discourse. Taking into account my influence on the setting was an important part of the research."

- Maria Arlamovsky
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gebogene Palme

A WHITE SUBSTANCE, 2008, 21’

“A White Substance is just as beautiful a film as its subject matter is ugly. In a smooth montage of meticulous compositions, the stationary camera placed at an appropriate distance in front of the interviewee, people tell how soldiers use rape during times of war as a weapon to break the enemy.”

– IDFA International Documentary Film Festival Amsterdam, 2008
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LOUD AND CLEAR. LIFE AFTER SEXUAL ABUSE, 2002, 67’

"In Loud and Clear five women and one man talk about the effects of sexual abuse on their lives. Years and in some cases decades afterwards, they have managed to find words for what these incidents have done to them. All of them have managed to survive the most painful aspects of dealing with their experiences, often after years of therapy. The protagonists, rather than assuming the role of victims, see themselves as survivors, people who have learned to analyze, categorize and reconsider their childhood experiences."

– NGF Filmproduktion, Synopsis
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RUBBER CHICKEN BORN AT HOME, 1998, 75’

"I accompanied Rafaela for six months. I wanted to make a film about a woman who is defiant and believes that she can have her child on her own, without a doctor or technology. I myself knew from my own experience, how empowering it was for me as a woman to go against logic and reason - hospital/doctor/appliance."

– Maria Arlamovsky, Diagonale Catalog, 1999
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Maria Arlamovsky

Since 1997, Arlamovsky has been making documentaries that deal with the impact that societal power relations have on female bodies. This topic runs like a thread through her work, both in earlier films devoted to forms of sexual violence and in the later works, in which Arlamovsky explores how bodies are affected by medico-technological development and market interests. Her films have been shown in cinemas, on television, and worldwide at international documentary festivals such as IDFA, HotDocs und Visions du Réel. In addition, she has organized film screenings revolving around the female body and lectured at universities, museums and international conferences.

Maria Arlamovsky lives with her 4 children in Vienna and works as a documentary filmmaker. She studied Sculpture in Paris as well as Intercultural Competence and Film in Austria.