CEEYS_Sebastian Selke_Daniel Selke_Flimmerkonzerte #1

“Man with a Movie Camera“
Jan 13, 2018
Filmmuseum Potsdam

Starting in January 2018, Filmmuseum Potsdam presents FLIMMERKONZERTE, dedicated to all open-minded film and music lovers.

The boutique series of film live concerts is carefully curated and organized by the brothers Sebastian and Daniel Selke, also known as the award-winning cello-piano duo CEEYS, founders of Q3Ambientfest and in partnership with Modellbahn Music.

In this first edition, the curators of the series will introduce themselves and musically accompany the silent film Man with a Movie Camera  by Dziga Vertov (SU 1929).



»Vertov’s experimental work aims at an international and absolute film language, based on the complete independence that the language of drama and literature creates.«
Already in the opening credits it becomes clear that – at the end of a decade shaped by various upheavals – a revolution of cinema is yet to come. In discarding established elements of silent film for the ground-breaking use of lap dissolves, split screens and animation, avant-gardist Vertov comprises the footage, which was shot in Kiev, Odessa and Moscow over a period of three years, into a fast-moving description of metropolitan life. The camera remains visible at all times and is thereby shifted into the centre of events. Accompanied by it, the viewer races along alleys and gathers in crowded places, he joins locals on their way into factories, their apartments and – of course – the movies.



The music by the brothers performing under the moniker CEEYS – violoncelle (fr. cello) and keys – adopts a minimalistic approach of composition and improvisation. It moves between avant-garde and pop, including elements of jazz, ambient and classical chamber music:

»Raised during the last decade of the former GDR, our releases focus on processing memories, impressions and feelings regarding these rather hybrid times.« – CEEYS

The visuals for the critically acclaimed album CONCRETE FIELDS, which was released both digitally and on vinyl by Decca and Deutsche Grammophon in 2017, were honored with the Rilke Award at the International Poetry Film Festival Vienna. 2017 also marked the first annual Q3Ambientfest, which links avant-garde and pop to Potsdam’s versatile historical architecture:

»In accompanying these carefully selected films, we on the one hand hope to reinforce the close bond to our new home Potsdam – with its fascinating history and architecture from neoclassicism to the prefab buildings structures of the GDR. On the other hand, we seek to share our other great passion besides music – our love for film – with both dear friends and like-minded guests.

Much love and
pleasant times at FLIMMERKONZERTE!«
Sebastian & Daniel Selke

Admission: 10 euros, reduced 8 euros
Drinks available at the foyer.

More information on filmmuseum.de and CEEYS.de.


David Klavins:
“Exactly 30 years ago on this day – debut of the Klavins M370 vertical concert grand – Happy birthday to it, cheers! ;-) A BIG THANK YOU to all lovely people who have supported, and continue to support my “crazy” endeavors of piano building!!”
CEEYS_David Klavins_Sebastian Selke_Daniel Selke

CEEYS_Dominique Charpentier_Sebastian Selke_Daniel Selke
New playlist! “Piano & Synth”!!! A collection of awesome tracks mixing the acoustic purity of the piano with the modern evocative unlimited sounds of the synths. With modern classical stars such as Nils Frahm & Ólafur Arnalds, young innovative artists like Niklas Paschburg or Lambert & unknown but talented young composers.
with, Fabrizio Paterlini, Nil Ciuró, Federico Albanese, Jean-Michel Blais, Diego Guarnieri, Paddy Mulcahy, Dardust, Carly Paradis, Benjamin Gustafsson, Luca Longobardi, Michael Price, CEEYS, Piano Noir, Jóhann Jóhannsson, Goldmund, Klangriket, Ben Lukas Boysen
Suscribe and share it if you wish to support the artists!

The longer this film lasts, the rougher his poetry unfolds: “Karger” plays in the run-down East German steel town of Riesa, where a worker loses his job after being released and divorced. An impressive directorial debut with amateur actors.

A home movie is actually any movie, if you look at it accordingly. So also “Karger”, the very present debut of the Berlin director Elke Hauck, which was awarded the Max-Ophüls-Preis 2007 with the “Prize of the Prime Minister”. Hauck describes a man in the life crisis, a steel worker in the run-down East German steel town of Riesa, a film that, the longer it lasts, unfolds raw poetry.

It begins like François Ozons “5 × 2″: The man divorces and then goes to bed with the ex-wife. But in contrast to ozone, the film does not look back, but unfolds this precarious dual relationship into the future: The hero encounters new women and does not know himself whether he wants to return to the mother of his child or rather with the bar serving something begins. Or with the Lolita of the neighborhood.

At the same time he is dismissed because the work was taken over by French, and so “Karger” is also the portrait of a working world that is lost. The pictures of Patrick Orths, who has worked here with a digital camera, make one think of other films by young Berlin directors like Ulrich Köhler and Valeska Griesebach. Even the steel mill with its old, almost unreal massive machines is beautiful here and has a secret. Maybe that’s what’s left of the home.


Je länger dieser Film dauert, desto roher entfaltet sich seine Poesie: „Karger“ spielt in der heruntergekommenen ostdeutschen Stahlstadt Riesa, in der ein Arbeiter nach Entlassung und Scheidung den Boden unter den Füßen verliert. Ein eindrucksvolles Regiedebüt mit Laiendarstellern.

Ein Heimatfilm ist eigentlich jeder Film, wenn man ihn entsprechend anschaut. So auch „Karger“, das ganz gegenwärtige Debüt der Berliner Regisseurin Elke Hauck, das beim Max-Ophüls-Preis 2007 mit dem „Preis des Ministerpräsidenten“ ausgezeichnet wurde. Hauck
beschreibt einen Mann in der Lebenskrise, einen Stahlarbeiter in der heruntergekommenen ostdeutschen Stahlstadt Riesa, ein Film, der, je länger er dauert, eine rohe Poesie entfaltet.

Er beginnt wie François Ozons „5 × 2“: Der Mann lässt sich scheiden und geht gleich danach mit der Exgattin ins Bett. Doch im Gegensatz zu Ozon blickt der Film nicht zurück, sondern entfaltet dieses prekäre Zweierverhältnis in die Zukunft: Der Held begegnet neuen Frauen und weiß selber nicht, ob er wieder zur Mutter seines Kindes zurück will oder lieber mit der Barbedienung etwas anfängt. Oder mit der Lolita des Viertels.

Zur gleichen Zeit wird er entlassen, weil das Werk von Franzosen übernommen wurde, und so ist „Karger“ auch das Porträt einer Arbeitswelt, die verloren geht. Die Bilder Patrick Orths, der hier mit einer Digitalkamera gearbeitet hat, lassen an andere Filme junger Berliner Regisseure wie Ulrich Köhler und Valeska Griesebach denken. Sogar das Stahlwerk mit seinen alten, fast unwirklich massiven Maschinen ist hier schön und hat ein Geheimnis. Vielleicht ist es das, was von der Heimat übrig bleibt.

Rüdiger Suchsland, FAZ

CEEYS_Sebastian Selke_Daniel Selke_Cinematic Ambient Concert

Cinematic Ambient Concert in Berlin
Epic, melancholic and emotional music best for sunsets and inner views. In a spectacular location with light installation from Christoph Körner.

In partnership with Q3Ambientfest | http://q3ambientfest.de/
Christoph Berg (Field Rotation)
Dario Lupo (Chasing dreams / Need a Name) and
Clemens Ruh

The jury of the Poetry Film Competition Vienna is awarding the film „Rilke Ueberoffen“ by Sebastian and Daniel Selke for its perfect balance between emotion and abstraction, which manages to remain self-evident despite its minimalistic craftsmanship. The poetic film is not a one-to-one adaptation from the original by Rilke – and yet, it connects closely and truly to the poem on an emotional level.

 Rilke’s rather nostalgic return to his early love Lou Andreas-Salomé is confronted by a nostalgic return to the days of youth in East-Berlin’s prefab estate in the 1980s. The film gives an authentic impression of the brothers’ personal coming-to-terms with their childhood in the concrete panelhouses of Marzahn-Hellersdorf. Both Rilke and the Selke brothers focus on something that is lost forever – their youth. Accompanied by a certain kind of nostalgia, this makes for a retrospect filled with memories and a subtle but distinct feeling of pain. The jury was especially impressed by the timeless form of the film, whose principles could best be described by the words minimalistic, willingly unfashionable and unagitated. Another highlight is its intimate and fragile fusion of text and moving image established by the film’s score.

Die Jury des Poetry Film Festivals Wien zeichnet den Film „Rilke Überoffen“  von Sebastian und Daniel Selke für seine perfekte Balance zwischen Emotion und Abstraktion aus, die trotz der minimalistischen Kunstfertigkeit selbstverständlich bleibt. Der Poesiefilm bildet das Gedicht von Rilke nicht eins zu eins ab, ist ihm aber emotional immer sehr verbunden und nahe.

Rilke nostalgischer Blick zurück zur großen Jugendliebe Lou Andreas-Salomé steht ein nostalgischer Blick zurück in die Jugend der 80er Jahre in den Plattenbauten Ostberlins gegenüber. Der Film zeigt die persönliche Auseinandersetzung der Brüder mit dem Heranwachsen in der Betonsiedlung Marzahn-Hellersdorf auf. Bei Rilke wie bei Selkes geht es um etwas Verlorenes, die Jugend. Es ist ein Blick zurück, mit einer gewissen Nostalgie, geprägt von Erinnerung und einem gewissen Schmerz. Überzeugt hat die Jury die zeitlose Form des Films, deren Gestaltungsprinzipien mit den Worten minimalistisch, unmodisch und unaufgeregt beschrieben werden können. Hervorzuheben ist weiters die intime und fragile Verschmelzung zwischen Text und Bild durch die Musik im Film.

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