Collision

AT 1993

AT 2025, revisited version

25 min.


1994 bronce medal at the New York Film Festival for „Collision“, category Non Broadcast Performing Arts


Director, camera, editinn: Othmar Schmiderer

dance, choreography: Editta Braun, Jean-Yves Ginoux

Set design: Mario Bräuer

Composition, sound mixing: Heinz Leonhardsberger

Original sound: Harald Friedl

Lightings: Heiner Sollereder

Costumes: Emanuelle Mothe, Didier Henry

Production assistant: Ibo Scheiber

Editing Studio: Medienwerkstatt Wien

Maz editing: Manfred Neuwirth


Producer Editta Braun, Othmar Schmiderer

Fundings City of Salzburg, Federal province of Salzburg, BMKÖS


© 1993 Braun, Schmiderer

© 2025 Braun, Schmiderer, revisited version

A love story as a dance duet in the spectacular grounds of the Hallein salt works: sick man meets eccentric woman. A fusion of the very peculiar, strong movement languages of the charismatic dancers and choreographers Editta Braun and Jean-Yves Ginoux under the direction of Othmar Schmiderer.


Collision

A film by Othmar Schmiderer

1

Othmar Schmiderer

* 1954 in Lofer im Pinzgau, has lived in Vienna since 1973.

After many stages in life (electrical apprenticeship, sports studies, teacher, etc.) he came to the theatre as an assistant producer and director. Since 1983 he has worked in film in various capacities and has been an independent Austrian filmmaker since 1987.

Othmar Schmiderer's films have been presented and awarded at numerous international and national festivals.

2024 Award for his life's work by the province of Lower Austria.

https://www.othmarschmiderer.com


Filmography (selection)

Die Tage wie das Jahr, 2018

Stoff der Heimat, 2011

Back to Africa, 2008

Im toten Winkel. Hitlers Sekret‰rin, 2002

An Echo from Europe - Vienna Art Orchestra on Tour, 1998

Am Stein, 1997

Verbotene Jagden, 1990

Jean-Yves Ginoux

* 1959, † 2009, was a French choreographer and teacher of contemporary dance living in Paris. He performed in several jazz and contemporary companies, with different choreographers such as Jacques Alberca, Serge Alzetta and Bruno Agati. For several years, he also took part in television variety shows such as "Sébastien, c'est fou!" His teaching career has taken him all over Europe, and in the 1990s he was an extremely sought-after teacher at leading institutions such as the Impuls Festival in Vienna.

In 1991 he founded his own contemporary dance company and has - amongst others - collaborated with Austrian choreographer Editta Braun (Collision, 1991) and French composer Patricia Dallio (La ronce n'est pas le pire and Champs de Mars), among others.


Choreographic work (selection)

Spirales de fleures

Collision

La ronce n'est pas le pire

Champs de Mars


Director Statement, Othmar Schmiderer

Watching this film today means a very special kind of flashback for me. After more than 30 years, our work together, the dance performance COLLISION in my film version, is still alive - timeless! The very special location for this tense encounter is simply fantastic - an almost magical space. Considering our circumstances and resources at the time, we went to great technical lengths. Fortunately! It was worth it. The 2025 re-cut was done carefully and preserved the historical dimension.


Choreographer Statement, Editta Braun

I'm 35 years old when we shoot the film. Together with the director and the sound engineer, I gain access to an abandoned, cordoned-off salt works near my home. No entry allowed. We know immediately: this is our location. Mighty abandoned machine halls, a salt warehouse, everything has huge dimensions - it calls for a confrontation with our fragile bodies.

Adapting to this environment with its specific ground, special lighting conditions and dangerous heights will prove to be a challenge for the choreographic work and the performance. The filming is breakneck and highly emotionally charged. An adventure in every respect.

Over 30 years have passed since then, a whole life as a choreographer lies between the making of this film and today. Back then I was still dancing myself, today I make dance films myself.

It was important to me to make the film, a milestone for me at the time, accessible to the general public after all this time. The careful re-editing preserves the historical aesthetics, condenses and memorialises the location and the late dancer Jean-Yves Ginoux.