Shot in a house by architect Juliaan Lampens in Sint-Martens-Latem (Belgium), Das Haus resumes Aglaia Konrad’s interest in the possibilities of the cinematic medium to generate – rather than capture – an architectural experience. There are two architectural comparisons that are often applied to filmmaking: the idea of cinema as a ‘window’ and as ‘mirror’. Das Haus, entangles and complicates those comparisons by treating windows as interfaces that blur the inside and outside and whose transparency acquires materiality, and by using mirrors as devices that disrupt form pushing it to a state of potentiality. In Das Haus the screen is no longer a window but rather a skin: a tactile surface and a membrane that is neither safe nor transparent because it reveals its inner cinematic compositional strategies. (Anna Manubens)
