In other words, three films connected by the same name amongst their credits, but on the surface very little else. More importantly they are also three films which nestle inside a much larger filmography and so questions as to how representative they may or may not be of Pilz as an artist and filmmaker overall are difficult to answer. Such is their diversity that it perhaps matters not if we approach Himmel und Erde with little or no knowledge of its maker and no experience of having seen some of his works. After all, will this particular title not simply offer up something entirely again?
Moreover, what we also see throughout all of these works is a willingness to play with the documentary form. In Langsamer Sommer we have the home movie rendered as fiction, albeit to what extent is never made entirely clear - just how much is real and how much is David Holzman, as it were? When reviewing Facts for Fiction a few years ago I found myself faced with similar questions. At times the situations and the characters just seemed too contrived or too dynamic to have appeared out of thin air, whilst the title itself plays on such ambiguities, whether they ultimately exist or not. And what is Parco delle Rimembranze if not a documentary told in the most explicitly experimental form? That Venetian phone booth may not be the most obvious, or indeed immediately rewarding, choice of subject matter, yet those 14-minutes contained so much more, easily transcending its potential banality.
There are no extras on the discs themselves, though the film is accompanied by a 32-page bilingual booklet contained a newly commissioned essay by critic Michael Peklar, a brief piece by Pilz in which he reflects on the film 28 years after its completion, and full credits.