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Let's Keep It

Let's keep it is a cinema documentary (99') about the still problematic attitude of the Republic of Austria towards the restitution of "aryanized" real estate which - for whatever reason - became the property of Austria after 1945. The film is also the director's bow to the victims of the darkest chapter of Austria's recent history. A chapter that seems to have been extended to a certain extent when it comes to restitution of looted property to the descendants of Holocaust victims.

Let's Keep It

NR 2018
Pamparios

By inventing a fictional alter ego of himself, director Florian Seufert puts himself in the position to be at the same time the observed object and the observer. In his very personal ways, Florian Seufert appears to re-imagine the spiritual teachings of Carlos Castaneda and the otherworldly musings of Alejandro Jodorowski. Thus, this filmic out-of-body experience becomes an allegory for cinema itself and a sensorial voyage towards a new way of self-discovery. While shamans connect with the hidden realms of ghosts and their ancestors, the circle of life and death becomes whole once again, Florian, living with the Huichol, sheds his former self like an old and useless skin. *Pamparios* is a film about (the search for) self-realization. A film like an LSD trip. Like a dream within a dream hidden inside a secret dream. A challenging debut from an extremely promising director. Giona A. Nazzaro

Pamparios

NR 2018
Janáček: From the House of the Dead

Stage director Frank Castorf “might have been born to direct From the House of the Dead” (Opera Today). His gritty, visually striking adaptation brings bold modern and postmodern touches to Janáček’s masterwork without ever overshadowing the intense forward momentum of the music, conducted to dramatic perfection by Simone Young and sung by an all-star cast in Munich. Janáček adapted Dostoevsky for this powerfully compelling opera set in a Siberian prison camp, full of starkly contrasting moods and motifs, unusual in its episodic structure. The last opera Janáček ever composed, its third act was on his desk when he died in 1928; attempts by his students to “complete” his orchestration have largely fallen away over the decades in favor of the original version. Despite the grimness of the setting and the brutality of several characters, the composer’s compassion shines through in tender moments, movingly illustrating his motto for the work: “in every creature, a spark of God.”

Janáček: From the House of the Dead

NR 2018
Super Sauber

A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner. The dream is not a nightmare only because the set it is dreamt into is the seashore of the mare nostrum, where the dreaming subject is perfectly at home. A homeland which she, in turn, in her more secret thus naïf dreams would dream of being cleaner and tidier as in the reality, especially in front of such beauty of nature. As is right and proper.

Super Sauber

10.0 2018
Aufbruch in die Freiheit

Germany, 1971: Erika (Anna Schudt) is actually completely overwhelmed by her work in the butchery of husband Kurt (Christian Erdmann), the education of three common children and additional obligations, which brings the village life, as her doctor also revealed that she is pregnant again. Another baby is the last thing she needs now, and so she decides to drive to her sister Charlotte (Alwara Höfels) to Cologne and let the baby abortively secretly abort. Since there are complications during the surgery and Erika can only be rescued, but her husband still learns from the matter. It comes to a huge dispute, in which another topic is the future of daughter Ulrike (Lene Oderich). Without further ado Erika then packs her things and moves with her children to Charlotte. But at a time when legislation inevitably makes her dependent on her husband, she is denied a self-determined new beginning. Erika decides to do something to change that ..

Aufbruch in die Freiheit

6.0 2018
Blind Date

The filmmaker and artist Mara Mattuschka and the composer and musician Elisabeth Schimana have a rendezvous. Mara Mattuschka hears nothing and Elisabeth Schimana sees nothing. They have, however, agreed on a common line, on a text to be written together that, like a score, will serve as this common line for a 50-minute AV performance. The text is about strings that oscillate in the body, tubes through which the body receives nourishment and air, skins that are made to vibrate like a membrane.

Blind Date

NR 2018
I Am Gentrification. Confessions of a Scoundrel

Is the city of Zurich suffering from ‘density stress’? What is it like to live in mega cities such as São Paulo, Mexico City and Tiflis? Filmmaker Thomas Haemmerli broaches the topics of city development, architecture, density, housing market, xenophobia and gentrification from an autobiographical perspective. The path of his life has led him from a childhood in the villa district of Zürichberg, through his teenage years as squatter to flat shares, yuppie apartments and finally second homes in various cities. Only recently having become a dad, he plans to further enhance Zurich’s price appreciation by purchasing a huge, extended city apartment… This multifaceted essay not only humorously questions the filmmaker’s decisions, but also those of the right-wing conservatives, who are afraid of losing their space to immigrants, and the political left, who fail to embrace modern-age architecture.

I Am Gentrification. Confessions of a Scoundrel

NR 2018