10. Westdeutsche Kurzfilmtage,
The classical Epic is reduced to the bare bones of the action. Despite the seven minutes of turbulent action, it is actually a slow
film: in the war against Kreon, one of Antigone's brothers fights for the king, one against him. Both die. One of them is buried; the other is left lying on the street. Antigone goes against the king's wishes and wants to bury her brother. As a punishment Antigone is buried alive behind a wall. Her fiancé, Haimon dies, overcome with grief. Haiman's mother, Eurydike, is so upset by his death that she hangs herself. And just as the old soothsayer predicted, the king himself finds no happiness from all this death: he is killed. That makes 6 deaths, even though the war is over.
Ula Stöckl already establishes tendencies in Antigone, her first film, which feature later in all her subsequent films. She uses her own experiences as a basis for themes, without actually being autobiographical or putting herself in the centre. She directs the films with a sharp eye for reality, without actually portraying reality itself. It is exactly in this way that she uncovers the structures of real life and manages to push the boundaries of documentary filmmaking.
Daniela Sannwald, Anschauung und Begriff S. 41, 1995