妮克絲
夜之女神—倪克斯

克萊兒．霍普
HD Video, 22分鐘, 2010

希臘神話裡，大地之母蓋亞（Gaia）給了我們城市的地形，夜之女神倪克斯則給了我們內在領域。倪克斯的後代是一群非常有能力的神，讓人類經驗具體化，包括了老年、憤怒、爭吵和友誼。塔納托斯是寧靜死神，他的雙胞胎兄弟許普諾斯和其老婆—幻覺女神帕西緹亞讓一位年輕人開啓了他的奧底西斯之旅，從克羅伊茨貝格（Kreuzberg）沿著第七號地鐵線到斯潘道（Spandau）。
演員陣容是由朋友及認識的人所組成，大部份都是庫德人，口述對近來的柏林歷史有著相似的經驗。克羅伊茨貝格現在有一半都是住來自世界各地的年輕藝術家和開創時尚之人。七〇和八〇年代是庫德移民的天堂時期。土耳其人、阿拉伯人和波斯人就緊鄰圍牆—德國柏林人努力想遺忘的牆—旁居住。第七號地鐵線是由建築師Rainer Rümmler在冷戰時為柏林交通管理部門（BVG）所設計，沿著斯柏利河（Spree River）還有地底牆的形狀所設計。在夜之女神—倪克斯裡，第七號地鐵線成了忘川—遺忘之河。英雄名叫福拉特，是聖河幼發拉底河的阿拉伯文。
福拉特在派對上喝醉之後睡在火車上，發現自己身在西柏林各處，直接面對或是受到夜之女神孩子們的蠱惑。帕西緹亞讓他看見幻覺，使其危險地懸處在睡眠和死亡之間。他遇見了睡神許普諾斯的兒子和「作夢的人」的靈魂—夢神摩耳甫斯，他是一些種類的傳神諭之人，幻形化身為自己母親的模樣，母親總提醒他不可以違反黑夜。前伊斯蘭教的傳統遍佈全波斯，認為有七種面向存在，而夜晚次於白晝。晚上的時候可能會遇到夜晚的惡魔（Djinn），類似古希臘惡魔或靈魂，是情緒的化身，夜晚的孩子。 福拉特的夢裡，這些全都化成一個同樣的化身。他不幸「誤闖」了夜晚的領域，得要他獻上某種祭品，而他在佩嘉蒙博物館（Pergamon Museum）的佩嘉蒙祭壇（Pergamon Altar）裡不經意找到這樣祭品。
影片的劇情是根據我從不同朋友那裡聽來的庫德人生活在柏林和土耳其的野史，尤其是從Garip Ozdem那聽到的。他非常好心讓我用從庫德斯坦的祭品羊的額外畫面。
影片的風格是受到超級英雄電影和音樂影片還有野史中簡潔且誇張的形式的影響。這種形式一起將敘事性帶出來，用碧兒崔斯Beatrice Dillon寫的音符更為冷靜地附和。Beatrice從預錄聲音到電子樣本，創作全部的內容。在古神話參考來源衝突之中，在Rummlers七〇年代平台的美學背景裡，堅持當代的節奏在故事序數的時間性裡創造出戲劇性的現在。

NYX

Claire Hooper
HD Video, 22 Minutes, 2010

Where in Greek mythology, the earth mother Gaia gives us the topos of the city, Nyx the god­dess of the Night gives us the inner realm. The progeny of Nyx, a potent crowd embodying human experience include old age, rage, strife, and friendship. Thanatos, the god of quiet death, his twin Hypnos and his wife Pasithea, the goddess of hallucination, begin the Odyssian journey of a young man from Kreuzberg along the U7 line to Spandau.
The cast are made up of friends and acquaintances, mainly Kurdish, who have a parallel, if un­written, experience of the recent history of Berlin. Kreuzberg, now semi populated with young artists and trendsetters from around the world, in the 1970s and 80s was a haven for Kurd­ish immigrants. The Turkish, Arab and Persian population lived in the areas directly alongside the Wall that the German Berliners wanted to forget as much as possible. U7 line, designed by Rainer Rümmler, architectural engineer for the BVG during the cold war, follows the river Spree, and the shape of the wall underground – in Nyx the U7 becomes the river Lethe, the river of forgetfulness. The hero’s name is Furat, the Arab form of Euphetes, the holy river.
Furat sleeps on the train, intoxicated after a party and finds himself in various parts of west Berlin in direct confrontation with, or under the spell of, various children of The Night. Pa­sithea gives him these visions, and he hangs dangerously between sleep and death. He meets Morpheus, the son of hypnos and spirit of ‘people in dreams’, an oracle of sorts, a shape shifter in the guise of his own mother, who reminds him that transgressing the night is not allowed. Pre-islamic tradition all over Persia has it that there are 7 dimensions of existence, of which the night is the second after the day. In the night one can expect to encounter the Djinn of the night, who are very similar to the Ancient Greek daemons or spirits, personifications of emotion that are the children of the night. In Furat’s dream these become one and the same. His ‘transgression’ unblessed into the realm of the night requires some form of sacrifice, which he finds unwittingly at the Pergamon Altar in the Pergamon Museum.
The plot of the film is based on anecdotes of Kurdish life in Berlin and Turkey from various friends, especially from Garip Özdem, who also kindly allowed the use of the additional scenes from Kurdistan of the goat sacrifice.
Stylistically the film is influenced by superhero movies and music videos as much as by the brevity and exaggeration of the anecdotal form. This form, which brings together the narra­tive, is echoed more cooly in the musical score written by Beatrice Dillon, created entirely from pre recorded sounds and electronic samples. In the midst of the clashing references to ancient mythology and within the aesthetic context of Rummlers 1970’s platforms, the insistence on the contemporaneity of the beat creates a dramatic now in which the story is told. Where a voicover stands in perhaps for Furat’s out of body observations, the music expresses his sensa­tion, his experience, and this is the voice of NYX.