Discoveries from Austria World Cinema

Structuralist Philipp Fleischmann continues his architectural examinations of exhibition sites, using specially constructed cameras to capture the interior and exterior of his country’s national arts pavillion at the Venice Biennale.

A man tries to find the true culprit when his friend is accused of murdering a moneylender.

Recorded during a presentation of the "Performance Art Festival" in the Modern Art Galerie, Vienna. The presentation was officially put to an end by the police because of the infernal sound made by the accompanying noise orchestra. In this film short shots have been "mounted" in the camera. The film material is shown twice, whereas the sound is composed over the entire length of the film (out of elements of the real sound from the performance). (E.S.jr.)

The formal deconstruction of an Austrian tourist advertisement sign. The national colors red white and red have been removed, filmed separately. In the "white" area is the word "information." The sound is a montage made of parts of Filmreste (Film Remains) and is only audible when the "red" areas appear on the screen. This film echoes preceding films as well as the semantic meaning of the colors red-white-red and their "information"-value. (E.S.jr.)

Material actions: Otto Muehl. Montage of left-over film material from film scraps, amateur films, film leaders, recordings of material happenings, etc. Edited according to an exact plan (60 blocks of 10 takes each), then largely drawn over. My most destructive film, the "model for a futuristic newsreel."

A subtle-spherical text-image composition about South Georgia, an island group of the Antarctic—a stretch of coast into which humanity’s devastating overexploitation has been inscribed.

A tiny picaresque set in Paris chronicling Kubelka’s coy encounter with an unnamed man.

Friedl vom Gröller invites a stranger to his small apartment in Paris and records his reactions to an unexpected striptease.

Four young women present themselves seductively, self confidently and with some signs of shame. The camera´s low angle creates – in spite of feminism – a provocative image of Eva’s everlasting attraction.

The story of a triangle. Two people in a hotel room. A love story. Or rather, the idea of ​​a love story. A cinematic story. Everything there, inside, with no outside. A tribute to cinema in its entirety.

Oppressive and childlike, erotic symbols and surreal moments.

NEC SPE, NEC METU follows upon Gutes Ende (Bliss) and Ich auch, auch, ich auch (Me too, too, me too), and it is the third film of Friedl vom Gröller to record visits to her mother in a nursing home. Like the life of her mother, the film itself is consumed by an involuntary force accelerating like a spiral heading toward the end.

Gaelle Obiegly is a film about not being able to see, and a reversal of the gaze.

A young woman's body becomes the medium for the viewer’s projections of the stories and biographies that are imagined about her.

A young man spitting cherry pits, with an off-screen accomplice, attempts to hit the camera´s lens with one of them. Various moods become apparent on the way to a certain goal: effort, failure, then finally success. A happy, lighthearted film.

Ten years after the dissolution of her legendary band Wattmarck, engineer and musician Karin Steckheim brings the group together for one last concert to present their newest instrument: a mysterious synthesizer that produces a mysterious sound.

The cargo ship MS Valentina covers 1640 danube kilometers on its route from Linz, Austria to Russe, Bulgaria. It crosses through seven countries while doing so. The River as an „European Road“ is full of opposites and differences.

Trick film about film production.

In a remote, abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars to his native Nigeria. As he pursues his lonely day-to-day activities with wondrous serenity, past, present and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of everlasting resources.

This film shot by Michael Pilz between 1964 and 2005 is a meditative documentary in which personal images can be read as the director's way to liberation in the spirit of Eastern philosophy. It is conceived as an inner pastiche which permits the message to be immediate and authentic by mosaic-like blending of motifs and time planes where it seems that the film is the only fixed point in the world because, unlike its elusive nature, it has a clear order.

An audiovisual snow storm in front of a black ground, a white horizontal line that divides the image, grid planes, unfolding and folding dimensions. Set to atonal, techno, and orchestral sounds; an abstract (non-)world beyond comprehension, a visual experience that one must intuitively sense. Lost in space and time – the big bang of consciousness

Portraits and fragmented views of Paris intertwine.

Film by Hans Neuenfels.

A miniature portrait of the Viennese cinema, as seen through stuttering, flickering glimpses of walls and other surfaces in a pure play of light and shadow.

Instrument is reminiscent of found-footage shot a long time ago: six seconds of a girl moving. Moritz calls this: six seconds of innocence. He manipulated the material until only fragments of this innocence remained. To the pumping rhythm of the music the girl is simultaneously present and absent, but never really present. Moritz makes her intangible und thus creates space for ones own fantasy.

_relifted has been made in the form of a triptych, though solely portions of the side panels are visible on the edge of the picture and refer to something off camera. shadowy signs, structures and figures bathed in warm skin tones are visible.

Nikolaus Eckhard´s ironic study RaumZeitHund (SpaceTimeDog) is situated in the field of tension between chronophotography and cinematography.

The contemplative serenity Antoinette Zwirchmayr creates in House and Universe is offset by notions of restlessness and unease, that the images of a dormant, naked young woman – alter- natingly shown in a sparse, bright motel room and the blooming desert landscape outside – provide. Shown only in fragments, the sleeper seems blissfully unconnected to her surroundings. Tinged in warm sunlight, yet subtly charged with associations of isolation and vulnerability, the film presents a dreamlike, almost hallucinogenic portrayal of a person in a state of transcendence.

In 1994 I bought a small Hi8 video camera though I didn't really want one, as I already had a large video camera. The large camera was OK, but it was too big to carry along on walks. It didn't have legs so that I could lead it around on a leash like a dog. The little camera, on the other hand, was like a baby which could be stowed in my bag. The salesman was surprised when I kissed the baby camera after he handed it to me. I immediately set off on my first stroll with camera. I thought it was great because I could immediately film everything my eyes stumbled upon. The baby camera was like a gun and ready to go after visual prey.

The seats in the theatre are still empty when the performer – the artist – enters the frame. She speaks about a colonial flashback. She is haunted by a series of historic photographs of or taken by the Austrian ethnographer Paul Schebesta in the 1930s, in the Belgian colony of the Congo.

Accra Power focuses on the creative and artistic strategies of young Ghanaians situated at the crossroads of tradition and various belief systems, high technological and economic growth, infrastructural deficits and current energy crisis.

In Canadian-born John Cook’s restless documentary of an Austrian couple, I JUST CAN’T GO ON, the husband Petrus, channeling “Cassius Marcellus Clay,” takes up boxing to supplement the income from his day-job burnishing frames. His companion, the much older Gisi, works as a janitor. They are an odd couple, scavenging at the bottom of the Viennese social ladder. But there is nothing patronizing or exploitative in Cook’s treatment of the couple and their eccentricities as they try to make ends meet. In one of the film’s key aesthetic choices, Cook eschews synched sound in favor of a stream-of-consciousness soundtrack pitting Petrus and Gisi’s unfiltered remarks in relief against the harsh material world.

There were many reasons to be in a good mood in 2014! David Newman and the multiple Oscar and Grammy winning Film-Song specialist Randy Newman presented thecolorful world of film comedy! This year the »MAX STEINER FILM MUSIC ACHIEVEMENT AWARD« was awarded to RANDY NEWMAN. The famous nephew of the ninefold Oscar-winner Alfred Newman is one of the most successful film scorers of our time. He is especially renowned and well beloved for his numerous film songs that brought him two OSCARS, 20 nominations for the Academy Award and eight nominations for the GOLDEN GLOBES. He is also winner of six GRAMMYS and three EMMYS as well as honorary member of the »Rock and Roll Hall of Fame« (since 2013).

Hollywood in Vienna« invited to an unforgettable musical journey to the fantastic vastness of space and time and honored the versatile Hollywood composer Alexandre Desplat. The music of 2001: A SPACE ODYSSEY lead us to outer space and made us experience its infinite dimension. INTERSTELLAR, between the stars, we entered the infamous, global STAR WARS and were rescued by STAR TREK's spaceship »Enterprise«, leading us to faraway musical galaxies, where no man has gone, before. We got in CONTACT with extraterrestrials, GRAVITY pulled us back to earth and, finally, we fulfilled E.T.'s wish, to phone home. Within the second part of the concert, we honored the Oscar-, Golden Globe and Grammy winner Alexandre Desplat. His atmospheric melodies for HARRY POTTER, TWILIGHT, THE KING’S SPEECH, THE IMITATION GAME And THE GRAND BUDAPEST HOTEL amongst others let us virtually float through the universe.

A global disaster has happened and only a few people have survived. They live in a new perfection.

This film is devoted to the ordinary man, “to a common hero, an ubiquitous character, walking in countless thousands on the streets. This anonymous hero is very ancient. Slowly the representatives that formerly symbolized families, groups, and orders disappear. We witness the advent of the number. It comes along with democracy, the large city, administrations, cybernetics. It is a flexible and continuous mass, woven tight like a fabric with neither rips nor darned patches, a multitude of quantified heroes who lose names and faces as they become the ciphered river of the streets, a mobile language of computations and rationalities that belong to no one.” (Michel de Certeau)

There have been countless tributes made to the Lumière Brothers´ Workers Leaving the Factory since it was first exhibited in 1895, but few have been as technically ambitious, aesthetically assaultive or conceptually compelling as Sebastian Brameshuber´s In, Over & Out.

Contributed by brittle sounds, clouds as a hasty swarm over peaks. Behind windows, lights flash like Morse characters. Gondolas hiss past like flying objects. People are like phantoms in the snow. The moon rises, glows, crashes, disappears and always goes up again. (Isabella Reicher)

'Dance with me' was originally conceived as part of a broader project called “A Disturbance Traveling Through A Medium” (2016, at Duve Gallery, Berlin)—which corresponds to the scientific definition for the term “wave.” The starting point for the overall spatial installation as well as for each single work is an imaginary future, in which aerospace is dominated by women, and in which data analysis and the affective relation to the cosmos merge.

Their names are George, Inge, Jo, Sepp, Paula, Walo, Anita, Klaus and Klaus. They were acolytes, pupils, wards and foster home children, who were sexually, emotionally and physically abused by members of the clergy.

featuring: FelixAlthammer AmbrosFürstaller BastiFärber DanielGassner FloGeyer FloGöller ChrisGraf SeverinGuggemoos DominikHartmann BeneHöflinger MarinusHöflinger TobiHuber ChristianJenny TorgeNagel JürgenNigg MarkusObwaller SvenRauber TomRitsch JuliusSchneider PiusSchneider GeorgStückler ThomasTrifonitchev FelixWiemers RaphiWebhofer music: Disclosure - You & Me (Flume Remix)

Documentary about a photographer.

Found- footage work composing hundreds of fragments of opening credits for 35 mm films converted into sound.

An ode to the Semper Depot in Vienna, which was built in the late 19th century as a storage space for backdrops used at the court opera and theatre. Timo Novotny attempts to capture and render this imposing building in a single shot by means of reflections and loops. His intention is to create spatial confusion through optical illusion reminiscent of M.C. Escher’s games with visual perception.

The unpretentiousness of this video’s title equals the simplicity of its underlying structure. Nik Thoenen, a graphic artist by trade, constructed an installation consisting of fluorescent tubes mounted in a horizontal row especially for this video, his first. The arrangement of tubes was then “scanned“ with a mounted Super-8 film camera.

Documentary by Hans Scheugl on Kurt Kren.

2008 short by Dietmar Brehm

2001 short by Dietmar Brehm

2004 short by Dietmar Brehm

2004 short by Dietmar Brehm

1993 short by Dietmar Brehm