Dietmar Post Pro

The label makers and filmmakers, Lucía Palacios and Dietmar Post
Lucía Palacios and Dietmar Post have been running the film production and record label play loud! productions together since 1996—initially based in New York, and from 2003 onward, in Berlin. Their filmmaking style is characterized by a blend of political engagement, analytical precision, and a sensitive, reflective visual language. Many of their works engage deeply with historical and historiographical themes. Examples include:

●     Franco’s Settlers (2013) – about the long-term effects of the Franco regime in Spain (now part of the German Federal Agency for Civic Education’s film catalog)
B●     Monks: The Transatlantic Feedback (2006) – about an anti-Beat band from the 1960s, and also a piece of transatlantic cultural history (Grimme Award)
●     German Pop & Circumstance (2015) – examining the relationship between pop culture and right-wing ideology (Grimme Award nomination)
 

Palacios and Post met in 1996 at New York University (SCE) in a film course and quickly made a name for themselves in the emerging U.S. underground film scene with their short films Bowl of Oatmeal and Cloven Hoofed (among others, shown at the Rotterdam Film Festival). Two institutions that still exist today — the Chicago Underground Film Festival (CUFF) and New York’s Anthology Film Archives — were particularly supportive of these short films. They showcased and promoted the works and later helped finance the highly popular documentaries Reverend Billy & The Church of Stop Shopping and Monks: The Transatlantic Feedback. Palacios and Post’s films explore unfinished pasts or the ideological aftereffects of fascist systems. Their approach is consistently critically historical, revealing power structures. Rather than relying on fast cuts or emotionally driven storytelling, Palacios and Post opt for a precise, slow-paced narrative style. Their films leave space for reflection and ambiguity, instead of offering clear-cut judgments. A central element of their style is the use of historical film footage, photographs, and contemporary documents—not just for illustration, but as a distinct narrative layer. This underscores the materialist foundation of their work, which often adopts an interdisciplinary perspective, drawing from sociology, contemporary history, musicology, and cultural studies. The filmmakers are particularly interested in deviant or suppressed narratives—such as subcultures, political minority opinions, or marginalized groups. Their aim is not romanticization, but to make alternative perspectives visible. Their films avoid spectacle: no dramatic music, no fast editing. Instead: extended conversations, archival material, and original audio arranged in a collage-like structure. The films are not affirmative, activist, or judgmental; rather, they represent a search for images and sounds. One key feature is their respectful treatment of contemporary witnesses. The interviews are calm and inquisitive—never sensationalist. This searching, non-sensationalist approach lends their films a theory-driven depth, without making them inaccessible. On the contrary—their dry, at times ironic narration is often full of humor. Another distinctive feature is the multi-perspectival nature of their films, which has led to comparisons with the works of Spanish author Rafael Chirbes. In summary, their cinematic style can be described as calm and counter-hegemonic. Their work continues in the tradition of politically conscious documentary filmmaking, committed to enlightenment—even against the mainstream.

The Alternative Music Archive – play loud! (live) music series
Since 2008, the duo has been running the play loud! (live) music series. The archival concept behind it is a core part of the entire project, driven by a clear documentary and cultural-historical mission: The series sees music not just as entertainment, but as a cultural document of its time.
Similar to Alan Lomax’s field recordings of American folk music in the 1930s and 1940s, Palacios and Post seek to capture authentic musical expressions before they are distorted or forgotten through commercialization, trends, or technological shifts. Camera work is often hand-held, usually with only one camera and minimal editing. This creates a documentary clarity that deliberately distances itself from staged concert films or slick music videos.The goal isn’t to deliver a "show," but to convey presence and atmosphere—as if the viewer were in the room. The series often focuses on underrepresented, independent, or experimental music: krautrock, noise, avant-garde, punk, post-rock, experimental, improvised music and more. The aim is to preserve scenes, artists, and moments that might otherwise be overlooked or never professionally documented. In doing so, the series builds a visual and acoustic archive of alternative music history. While many modern concert recordings are high-gloss productions, play loud! offers a counter-model: sober, direct, real. The series aims to preserve music as a social and artistic event, not as a mass-produced commodity. It is deliberately conceived as a long-term archival project. These are not mere recordings, but curated selections, documented to build a coherent collection spanning years, genres, and locations.
 

The play loud! (live) music series is not just about showing music—it is about preserving it for the future, raw and unfiltered, with respect for the artistic integrity of the musicians. It is a cinematic archive of the "other music history."