Matthias Von Braun is a dark surrealist filmmaker. His short films have screened at renowned art galleries and film festivals around the world.
Matthias Von Braun’s Machine is currently in Post-Production.
Von Braun’s Devoid has been selected to screen at SECS Fest this September at the Grand Illusion Cinema in Seattle.
Devoid has been nominated for ten awards and won Best Micro-Short and Outstanding Achievement in Makeup/Hairstyling & SFX Awards at Lonely Wolf: International Film Festival August 2021.
Devoid has been nominated for four awards and won the Best Cinematography Award at FilmHaus Berlin Film Festival June 2021.
Devoid has won the Outstanding Achievement Award (Experimental Short) at IndieX Film Festival Los Angeles May 2021.
Devoid has won Best Video Art at London Fetish Film Festival December 2020.
By Adrian Perez
Devoid of many things is Monika Blaszczak’s protagonist here in Matthias Von Braun’s 2021 masterpiece; Blaszczak performs an arresting rendition of a human physical vessel lacking and awaiting to get wired with its consciousness. Just as Neo got unplugged from The Matrix (1999) and spitted out into the machine world’s drainage system, Blaszczak eloquently emerges out of a similar post-apocalyptic oil orifice into existence for the first time, making of her first movements a ballet-like choreography that soon gets glitched up by mechanical movements that override and corrupt her hardware system.
Von Braun proves he lives and breathes Film. Every departmental aspect of this production feels the touch of a loyal servant of Film, who not only cares for the details and puts forth an immaculate micro-short film that showcases the highest degree of cinematographic achievement, but also impregnates a subtextual and intertextual richness that will satisfy more than one science fiction fan.
If you’re the hardcore Matrix fan as I am, you’ll automatically induct Von Braun’s Devoid as an unofficial addition to the Wachowskis’ Animatrix (2003) anthology of short films that expand the world of the Matrix. Devoid’s environmental surrounding resembles a familiarity to the Matrix’s machine world, Blaszczak mimics Ridley Scott’s Titans in Prometheus (2012), and its acoustic realm pulsates an impending doom that echoes Blade Runner’s (1982) mythological and electronic Neo-noir score. Von Braun’s Devoid is both parts stylish and philosophical with every fibre of its being. This is a micro-short film about creation, or better yet, miscreation; when Blaszczak eventually retreats into the oil tank she emerges from, Von Braun suggests an existential crisis, an incompatibility, a virus attack, a corruption, toxic contamination with this uncanny mechanical world. Von Braun’s ambiguous oeuvre engulfs us into a toxic world that corrupts us to the point that his inhumane heroine would rather be replugged to the Matrix and go to sleep. Von Braun’s latest audiovisual canvas elicits a philosophical dimension that science fiction has the power to evoke. After watching Matthias Von Braun’s micro-short film Devoid you’ll be grateful you weren’t born in this dark post-apocalyptic world of his making. A harsh thesis puts forth the impotence we can come to feel if we’re not born into an untroubled utopia, then what psycho-emotional and psychosomatic repercussions can that have on us?
Original, intertextual, phantasmagorical, Devoid is an absolute masterpiece; whoever says otherwise is fooling themselves. Von Braun is an original who displays an ambitious cinematographic calibre and an auteurist maturity that takes a lifetime of film education and auto-didacticism to gain. Chapó Von Braun!