MEMENTO MORI tells about death .... It surpasses the formal inventory of feature film cinema to develop its own narrative structure as a filmic poem. ... [He] chooses ... Cinemascope - not as a visual gag, but as a necessary means to communicate his visual motives. ... [W]hen Hubbard shows a skull, or his friend in front of a still life, or a woman cleaning a room, he does not ... juggle with metaphors and symbols, but shows ... what lies behind the symbolic connotations of the images on screen: What is it like when a body doesn't move anymore? How does it feel - the ashes of the dead or the soil which covers a corpse? ... Most paradoxical however [in] MEMENTO MORI ... cinematic images do not erase life with stereotypes but let life live on, somewhere else, outside the screen. ... In this context, the final image of MEMENTO MORI is one of the most haunting and beautiful we experienced."
- Stefan Hayn

Award: Winner, Jury Ursula Award, Hamburg Lesbian & Gay Film Festival Short Film, 1995

Note: Anamorphic Lens available upon request.