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DADA, father of anti-art, is 100. This film is a dance with Dada on its centenary. Watch with caution because the present leaves traces in the past!




            Film poster designed by Anita Kern


Cast & Crew

Text by Christian Höller



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A DAD 2 klein A DAD 300 dpi

Editor of Springerin, Magazine for Contemporary Art


100 years of Dada is actually no reason to celebrate, if you consider the history of how this most radical of all art movements was appropriated and neutralized. Nevertheless, Robert Cambrinus' agile homage A DAD today honors the impulse behind the movement's founding in 1916 at the Zurich Cabaret Voltaire. The alphabetic reversal of the film's title signals its agenda to highlight the methodical know-how Dada gave the world, as forerunner of more recent applications such as the cut-up, re-mix or mash-up.

And this is precisely what Cambrinus' film impressively demonstrates, revealing the collage mode underlying techniques of processing contemporary media phenomena: Hilariously cut-up introductory speeches are offered by the likes of Obama and Putin; predecessors of today's digipoetry are honored through the citation of historical texts ranging from Christian Morgenstern to Ernst Jandl; spectacular images of current culture (from pornography to IS) are deservedly demystified under such headlines as "i-collage", and "Schwitters twitters". That every contemporary impulse of freedom or resistance is overshadowed by powerful information or intelligence giants (Facebook, Apple, NSA) also rubs off on ideological blocs of the past (Communism, National Socialism, the "free" West): "The present leaves traces in the past", reads a beautifully laid out blackmail letter. Staged scenes stand in refreshing contrast to the sampled footage, such as when master and dog turn reality upside down. And this perfectly exemplifies how "That Da Da Strain" cannot be removed from our world, as heard on the accompanying soundtrack in a song most eloquently delivered by the jazz singer Ethel Waters.

A DAD stars


Neubaugasse 45/13

A-1070 Vienna, Austria

Tel: +43 (0)1 526 09 90-0

e-mail: [email protected]

Genre: Animation/Experimental

Production: AUT 2016

Running Time: 11 min 21 sec

Language: English

Shooting Format: HD & Found Footage

Aspect Ratio: 16:9

Sound Mix: Stereo

Concept & Realization — Robert Cambrinus



David Cameron — Himself

Barack Obama — Himself

Alexis Tsipras — Himself

Edward Snowdon — Himself

Christine Lagarde — Herself

Arnold Schwarzenegger — Himself

John Kerry — Himself

Vladimir Putin — Himself

Australian Shepherd — Black Ilvy of Bluewulf



Typographic Designer — Anita Kern

Sound Mixer — Alexander Wieser

Composer — Juan Pablo Trad Hasbun

Producer — Robert Stokvis

Sapporo International Short Film Festival (Japan) — Premiere

dokumentART (Neubrandenburg, Germany)

Shortz International Video and Short Film Festival (Novi Sad, Serbia)

Cinequest (San Jose, USA)

Regard International Short Film Festival (Saguenay, Canada)

IndieLisboa (Lisbon, Portugal)

Kyiv International Short Film Festival (Kiev, Ukraine)

Backup Festival & art.screen installation (Weimar, Germany)

Seattle International Film Festival (USA)

L'Étrange Festival (Paris, France)

Marienbad Film Festival (Mariánské Lázne, Czech Republic)

Videomedeja International Video Festival (Novi Sad, Serbia)

Québec City Film Festival (Canada)

Exground Filmfest (Wiesbaden, Germany)

Flensburger Kurzfilmtage (Germany)

Asolo Art Film Festival (Italy) — opening film

ARKIPEL International Documentary and Experimental Film Festival (Jakarta, Indonesia)

BIDEODROMO International Experimental Film and Video Festival (Bilbao, Spain)

TGA Symposium/Typographic Society Austria (Raabs, Austria)

Okto TV/Oktoskop (Vienna, Austria)

Living Collection/Sixpackfilm (Vienna, Austria)

Film Festivals

Grand Prix Golden Pegasus — ANIMATOR International Animated Film Festival (Poznan, Poland)

Premier Prix du Jury — AVIFF Art Film Festival (Cannes, France)

Deframed Audience Award — Hamburg International Short Film Festival (Germany)


A DAD qualified for and was submitted to the Oscars (Academy Awards) 2018.