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In the wake of the rise of the AfD in East Germany and the growing dominance of right-wing discourses in Europe, the “Gilgamesh” story became a point of reflection for the artists for the present: they traveled to Hoyerswerda in Lusatia with a camera, tape and the epic in their luggage and conducted numerous interviews there. From the mayor of a village threatened by open-cast mining, an archaeologist, an AfD politician, to the local butcher, they spoke unreservedly about the situation on site, which turned out to be a complex political and economic crisis: between the GDR legacy and capitalist self-assertion, Between inanimate urban centers and areas of land destroyed by open-cast mining, community and self-image have been massively eroded. Conspiracy theories and xenophobia come into this situation.

The “Gilgamesh” epic begins - so the analogy goes - with the crisis of the system of the city of Uruk. The people beg the gods to counter the superior power of King Gilgamesh, who brutally oppresses his people. The gods then create the animal-man Enkidu. Enkidu is strong but new to the human world. He fights against Gilgamesh, but believes he has found a brother in him who will open his eyes to the people's true enemy: the forest demon Humbaba. So both of them finally go into battle together against Humbaba and in the process encounter themselves and their very own fears.

The satirical rewriting of the “Gilgamesh” epic by the Uncoordinated Movement group also begins with a divine intervention in the crisis: the pig “Schweini” (formerly “Schweini’s vegan cooking show”), who failed as a television star, is wasting away in front of the television, when “Miss Democracy” appears to him and announces that he is the chosen one who must save the people from dictatorship and climate catastrophe. His mission begins where it is worst: on Facebook? On YouTube? Instagram? No. In Hoyerswerda...

The pilot film introduces the bizarre characters and tells how “Schweini” is chosen.

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