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Learn more- A web-series in six parts, Britta Thies Translantics is a mini-drama full of dispersed selves a condition to which anyone with a Skype account or more than one simcard can no doubt relate. And yet even as technology has topologically collapsed timezones into a common dreamspace the setting, essentially, of this show our physical bodies and currencies and mother tongues are creating a kind of productive drag, which Thies characters, like her actors, like us, must continuously and collectively negotiate.
The series follows a young German women as she navigates her life in the Eurozone. Her and her friends find themselves in a sea of expats and expats abroad in their own lives, the protagonists are joined by a revolving cast of friends who play themselves or versions of themselves.
Constantly crossing paths and crossing wires, they cope, adapt and glitch out as their relationships are continually re-networked and auto-updated. What happens to experiences like intimacy when emotion, affect, and intelligence have become products on an already flooded market?
Relationships unfold before mall display windows; in train dining cars; Airbnb flats; throughout the lush countryside of provincial hometowns; in run-down galleries loaded with artworks imported from New York; beneath Frankfurts monolithic corporate architecture; and across the streets of a glowing, frantic, decrepit Berlin: the nerve center of the transnational culture class that nevertheless remains perpetually peripheral, the historical landmark that has clumsily erased its own past with attempts at the future. Product, lifestyle, Potsdamer Platz. Every throwback is a throw-forward.
The series may be a generational portrait, but the generation (89, plus or minus) is a generation in test-phase; the present is empty, and everyone is in between: zwischen hin und her, him and her, then and now. Resolution dials up and then dies down. Pupils dilate as center swiftly encroaches on periphery. With stories conveyed through smartphone cameras, skype windows, and contact lenses, each self-contained episode embodies its subject form follows flux.
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