Julian Moser

Julian Moser (*1987) is a Berlin based director of photography who specializes in music videos and documentary work. Starting in Munich he assisted for the awarded literary magazine Druckfrisch and worked with Bad Banks writer Oliver Kienle. As a DoP he has collaborated with musicians such as Nine Inch Nails member Alessandro Cortini and singer Emel Mathlouti, known for "Kelmti Horra", which became an anthem for the Arab spring. He´s a frequent collaborator for CNN´s short documentary platform Great Big Story and his upcoming collaboration with Chinese writer Lei Qinyuan for the documentary feature Children of Huaqiangbei, gives a dreamy, often eerie insight into Shenzhen and its famous electronics market through the narrative of a girl who witnessed the massive change of the city since the early 90s.

Role: director
01

music

07:24

Tangerine Dream - Raum

The video was shot on a Canon Super-8 camera, documenting Tangerine Dream’s creation process at their Berlin studio space and the surrounding neighborhood of Neukölln.

02

music

05:43

Hainbach - Schwebungssummer

Schwebungssummer exorcises early 90s memories of a recurring false awakening, followed by a headfirst float towards a dark portal. Therefore, images search for the uncanny in the park, the near autobahn tunnel or the canal. Shot as a constant zoom, this visual is highlighted by classic rotoscope sequences and 2D-animations. Absorbed by ordinary objects, like a loop, entering scenario after scenario; and this incredible need to repeat. It is a hybrid of references to Ralph Bakshi’s early movies, infused by Freud's concept of repetition compulsion (German: Wiederholungszwang). Story by Felix Moser and Nani Gutiérrez

03

music

43:00

Hainbach - Light Splitting

Berlin-based synthesist Hainbach and filmmaker Julian Moser came together for Light Splitting, an audiovisual project based on Hainbach’s eponymous album title. Moser decided to work with the limitations imposed by isolation during lockdown, eschewing the macro to look more closely at the microscopic world inside his home. Using an antiquated MiniDV camera, glass, water and the morning sun, Moser finds the psychedelic in the microscopic, pairing Hainbach’s gauzy synth explorations with gently shifting images of light, captured at a low-resolution and then played back at half speed.

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