Movies & Series

Veit Helmer: Fantastic Worlds

A German storyteller with poetic energy

Hardly any other director from Germany has developed such a sensational, completely unconventional visual language as Veit Helmer (born 1968) in his short and feature films. He created a work of detailed, turbulent-poetic dreams, sometimes overwhelming with surreal-comedic ideas, often characterized by fairytale-like imagery full of bizarre characters and bizarre decorations. Whether “Tuvalu” or “Absurdistan” or a children's film like “Baloney and the Coati”: Velmer likes to tell almost without words. "Telling with dialogues is the easiest," he said, "if not to say the most primitive way. Visual narration is the free program."

Hardly any other director from Germany has developed such a sensational, completely unconventional visual language as Veit Helmer (born 1968) in his short and feature films. He created a work of detailed, turbulent-poetic dreams, sometimes overwhelming with surreal-comedic ideas, often characterized by fairytale-like imagery full of bizarre characters and bizarre decorations. Whether “Tuvalu” or “Absurdistan” or a children's film like “Baloney and the Coati”: Velmer likes to tell almost without words. "Telling with dialogues is the easiest," he said, "if not to say the most primitive way. Visual narration is the free program."

Hardly any other director from Germany has developed such a sensational, completely unconventional visual language as Veit Helmer (born 1968) in his short and feature films. He created a work of detailed, turbulent-poetic dreams, sometimes overwhelming with surreal-comedic ideas, often characterized by fairytale-like imagery full of bizarre characters and bizarre decorations. Whether “Tuvalu” or “Absurdistan” or a children's film like “Baloney and the Coati”: Velmer likes to tell almost without words. "Telling with dialogues is the easiest," he said, "if not to say the most primitive way. Visual narration is the free program."