ectoriders-titelohne Uber.jpg


Ein Uber, drei Frauen* und eine Reihe von nicht enden wollenden kurzen Stopps. Zwischen Anpassung, Resignation und Eskapis- mus müssen sich die drei Protagonist*innen der Frage stellen, wie sie sich zueinander und gegenüber der Welt positionieren wollen.

An Uber, three women* and a series of never-ending short stops. Between adaptation, resignation and escapism, the three protagonists have to face the question of how they want to position themselves in relation to each other and the world.







4K color

5.1 german

fiction/ experimental

Universität der Künste Berlin


Milena Bühring, Lisa Kaschubat, Klara Kirsch



KAY, YV und MIMI haben ihr altes Leben hinter sich gelassen. Seitdem sitzen sie in einem Uber und fahren scheinbar endlos von Ort zu Ort. Anfangs erschien ihnen die Fahrt wie das kapitalistische Versprechen einer heilen Welt, in der sie sich um nichts zu kümmern brauchen. Mittlerweile hat sie sich aber als sinnlose Endlosschleife entpuppt. Wie lange die Reise schon geht und wo sie hinführt, ist niemandem klar.

KAY, YV und MIMI sind keine Freund*innen, eher sind sie Leidensgenoss*innen. Sie alle sind auf ihre Weise unzufrieden mit sich, der Welt und ihrer Situation.
MIMI hat vor ihrer Ankunft im Uber in einem Spätkauf gearbeitet und ihre Schichten damit verbracht, sich in Gewaltfantasien an Männern zu rächen. KAY war eine knallharte Geschäftsfrau, die sich ihr Leben lang mit mehr oder weniger legalen Mitteln an die Spitze gekämpft hat und mit dem Einstieg ins Uber nicht mehr genau weiß, wofür sie das ganze Geld verdient hat. YV war eine Programmiererin, die ihre Tage damit verbracht hat, Welten zu bauen, in denen es keine Binari- täten, Ungerechtigkeiten oder Gewalt gibt, aber auch niemanden, mit dem sie diese Vorzüge genießen könnte. Sie folgen ohnmächtig den Notifications der App, die sie von Ort zu Ort bringt und immer wieder mit Discounts lockt. Dabei finden
sie sich in einer Gameshow, in einem Gefängnis und einem Stripclub wieder. Die kurzen Aufenthalte enden ohne Lehre, ohne Souvenirs und immer wieder in der gleichen Ausgangssituation des Ubers. Doch im Laufe der Reise fangen sie an, sich aufeinander einzulassen. Sie verstehen, dass sie voneinander lernen können und dass Solidari- tät zwischen ihnen dazu führt, dass sie sich untereinander und mit der Welt verbinden.

An einem der vom Uber generierten Stopps findet MIMI ein Embryo und entschließt sich, es mitzunehmen.

Dieses Ereignis zwingt die drei dazu, eine aktive Position bezüglich Fürsorge, Verantwortung und dem eigenen Stand in der Welt einzunehmen. Werden sie sich des Embryos annehmen, es weggeben oder einfach liegen lassen, wo sie es gefunden haben?

Ihre Auseinandersetzung wird in der darauffolgenden Szene auf choreographischer, textlicher und musikalischer Ebene geführt. Ihre anfangs konträren Positionen verschmelzen in einem fragmentarischen Dialog über Mutterschaft, Zukunftsängste, Träume und Fantasien. Für einen Moment lösen sich die Figuren in ihrer Unterschiedlichkeit auf und werden eins. Ohne das Embryo, aber mit einer Entscheidung gehen sie schließlich zurück in Richtung ihres Ubers. Es bleibt offen, ob sie ihren Trip fortsetzen oder zurück in die reale Welt gehen. Klar ist, dass sich etwas verändert hat.

KAY, YV and MIMI have left their old lives behind. Since then, they have been sitting in an Uber, driving seemingly endlessly from place to place. At first, the ride seemed to them like the capitalist promise of an ideal world in which they don't have to worry about anything. In the meantime, however, it has turned out to be a meaningless endless loop. How long the journey has been going on and where it is going is not clear to anyone.

KAY, YV and MIMI are not friends, rather they are fellow sufferers. They are all dissatisfied in their own way with themselves, the world and their situation.
MIMI worked in a late-night grocery store before arriving at Uber and spent her shifts engaging in violent fantasies of taking revenge on men. KAY was a hard-core businesswoman who spent her life fighting her way to the top by more or less legal means and, by entering Uber, no longer knows exactly what she made all that money for. YV was a programmer who spent her days building worlds where there were no binari- ties, injustices or violence, but also no one with whom to enjoy those benefits. They impotently follow the notifications of the app, which takes them from place to place, always tempting them with discounts. In the process, they find themselves in a game show, a prison and a strip club. The short stays end with no apprenticeship, no souvenirs, and always the same Uber starting point. But as the journey progresses, they begin to relate to each other. They understand that they can learn from each other and that solidarity between them leads them to connect with each other and with the world.

At one of the Uber-generated stops, MIMI finds an embryo and decides to take it with her.

This event forces the three to take an active position regarding care, responsibility, and their own standing in the world. Will they take care of the embryo, give it away, or simply leave it where they found it?

Their confrontation is carried out in the following scene on a choreographic, textual and musical level. Their initially contrary positions merge in a fragmentary dialogue about motherhood, fears for the future, dreams and fantasies. For a moment, the characters dissolve in their differences and become one. Without the embryo, but with a decision, they finally go back towards their Uber. It remains open whether they will continue their trip or go back to the real world. What is clear is that something has changed.






We are a group of performance and media artists dealing with current feminist issues of a continuously digitizing society and its inherent forms of female representation in the media and pop culture. We believe in collaborative artistic creation. Through the exchange of different positions from different contexts, an artistic work becomes interesting for us. We do not see ourselves as isolated artists, but always as part of the context in which we live and work. For us it is essential to always seek for forms of collaboration that do not work hierarchically but at eye level with our team.

Milena Bühring is multimedia artist who is currently studying at UdK Berlin. Her work often starts from the autobiographical and deals with stories and myths that are more or less consciously written in social performance and whose necessity and plausibility are often not questioned.

Klara Kirsch is a performance and media artist whose work deals with bodies and (multiple) identities in the digital space, with the construction of reality and the mechanisms of post-capitalist society. In doing so, the appropriation of strategies from pop culture and social media serves as a method to address deeper feminist and sociopolitical questions.


Lisa Kaschubat is an installation-based media artist from Berlin. Her work encompasses the themes of corporeality, interpersonality, and emancipation and their points of connection to technology and virtuality. In doing so, she works performatively, across spaces, and in multimedia. In her installative works Lisa Kaschubat creates immersive spaces. VR and CGI reflect a mutability of corporeality, which is also reflected in the fragility of sculptural works. 

OUR team


Kamera: Ulrike von Au

Ulrike von Au is a cinematographer based in Berlin. She achieved her master's degree at the Filmuniversity Babelsberg in 2022 and already did a variety of shortfilms, documentaries and musicvideos. Her way to capture scenes is atmospheric and close to the people in a deep way. She loves to be part of an interaction between actors, light and movement.

Scenography: Louis Caspar Schmitt

Louis Caspar Schmitt is a master student in stage design at the UdK Berlin. In addition to his studies, he has been able to gain experience at professional theaters and film sets as an intern and assistant. Most recently he has ben working at the Theater Erlangen and the Theater Münster. He is supported by Studienstiftung des deutschen Volkes.

Costume Team: Elin Laut and Tin Wang

Elin Laut is a Berlin-based costume artist currently studying Costume Design (M.A.) at the UdK Berlin. Elin combines the media of costume, video, performance and installation to create artistic works that focus on the costume as a performative carrier of political messages.

Tin Wang is an artist/designer/researcher currently. She is studying costume design MA at the UdK Berlin. Her works often wanders between wearable and unwearable.


Choreography: Rocio Marano
Rocio Marano was born in Argentina and has been living and working in Berlin since 2015. She has been trained in physical theater, martial arts and contemporary dance. In addition, she studied at the Escola Superior d'Art and Disseny in the Balearic Islands. She will complete her MA Choreography in 2022 in Berlin.

Sound Design: Barry Olusegun- Noble Despenza

Barry Despenza was born in Chicago, IL and currently studying Sound Studies and Sonic Arts at the UdK Berlin. Despenza's interdisciplinary art work builds upon experiential experiences that shift perspective from passive seeing to active looking, from passive hearing to active listening.

Make-up: Paulina Mondello

Paulina Mondello studys Art at UdK Berlin. She is a painter and make up artist who lives and works in Berlin. Her work has it's focus on bodies as their known and as they can be reinvented.


Music: works mulidisciplinary at the interface of music, performance and video. They work freelance as DJ, producer and performer and are part of the eight-member label collective Raiders. Jpeg also regularly stands behind the camera and directs music videos, performances and theater pieces. Their artistic position is queerfeminist and the basis for jpeg's output and collaborative works.

Camera Assistant: Greta Markurt

Greta Markurt studied psychology at TU in Dresden before devoting herself exclusively to film. Her work as a cinematographer is informed by her studies as well as the curiosity to constantly question her sense of reality. She has worked on films, music videos, online formats as well as stage plays and she is co editor of an independent arts zine.


Set manager: Céline Schink

Céline Schink is a filmmaker based in Berlin. She studied at the Beuth Hochschue for Technology and graduated in Screen Based Media (formerly Audiovisual Media) in 2020. Since then she has worked as a set manager and freelance movie editor.



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