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An ethnographic documentary about the confrontation with one's own origins. The directors accompany the grandfather, father and son of a Tyrolean family in a mutual conversation as well as in their everyday lives in the countryside and in the city.
Pauli, a young, withdrawn, traumatized man carries a dark secret with him. When his father dies, he comes out with all his might.
After the communist regime collapsed (1991), three young people in Tirana, capital of Albania, found themselves in a world which was new and unknown to them. Wild years of radical personal re-orientation follow.
The pandemic brought society to a standstill, but from an animal’s perspective the world didn't change that much. Unless, of course, you live in a zoo. What was life like in the Salzburg zoo when no visitors were allowed? Microstories from the pavilions, enclosures, and terraria, told with Horvath’s typical sense of humor.
Vienna, Austria 2001. A bizarre encounter between a bulimic, single mum in precarious circumstances and a non-binary person from Argentina dressed as an ASTRONAUT in a karaoke bar.
Numerous well-known biographies are closely linked to the University of Vienna, which is celebrating its 650th anniversary this year. Director Karin Schiller lets successful people from all disciplines look back on their student days in Vienna and thus creates the image of an institution that, even after centuries, still aims at the core of society with the education it imparts.
Three generations of Austrian men find themselves, for a brief moment, living under the same roof on a small farm in this haunting portrait of aging, dignity and familial responsibility.
Sarah is 23 years old and lives alone in Vienna. She's on a downward spiral that ends in a drug addiction. An alleged theft is the last straw and she is fired from her job. Through contact with old acquaintances, she tries to give her life a positive turn. But here she finds neither comfort nor a basis for a new beginning.
The film traces the historical development of the Evangelical Church in Carinthia from the Reformation through the time of the Counter-Reformation and secret Protestantism to the tolerance period in the 18th century.
A trip to the most impressive and beautiful castle buildings in the country.
How do we explain to our children that one day we will all have to die? Do we even have to? FINALLY INFINITE explores the question of whether we have to accept birth, illness and death as the natural course of our lives and meets those visionaries who already want to take our evolution into their own hands.
Are these the images of a rocket throttling its engine and landing? Or are we in the bedlam of a nuclear air raid—should we scurry for shelter? The compositions recall satellite images of destruction: fire, hot lava, or the sun itself. Tina Frank continues her impressive body of work in visual music—which featured many collaborations with the musician Peter Rehberg. Pliii is also a tribute to the late artist. (tr)
Whoever swims with the current has already lost. Whoever lets themselves drift along is wasting their energy. Some exercise in complex seeing is needed shows a person pushing back against the current, though they’re apparently unable to move an inch. A contradiction? Not at all.
College student Flora goes home for the weekend to celebrate her mother’s birthday. While she helps her grandma in the kitchen, witnesses her teenage brother’s life and listens to the conversations at the party, she slowly begins to rethink her priorities.
A journey through time with many surprises: Spectacular goals and moments from 100 years, recordings of previous venues and legends in interviews.
Short documentary about social democratic "Red Vienna" of the 1820s.
Johannes Hammel’s three-part Jour Sombre. He employed home movies shot in the 1950s and ’60s, of trips into the mountains, hikes across a glacier, alpine huts and lakes. We see groups of people spread out across the alpine landscape, in the background the dazzling white of the sun’s bright reflection from a glacier. Binoculars are pointed upward. At the sky, or the sun? Then a bubble appears, filling the picture and virtually swallowing the landscape. There’s a glare, as if a ray of light reflected from the ice were burning directly into the camera lens or our retina. Other bubbles follow, and the entire scene begins to boil. Heinz Ditsch’s soundtrack encourages this unsettling scenario. In the next part a swimming woman is harassed by nicks and scratches covering large areas, and what was originally idyllic becomes fractured and furrowed like dried clods of dirt. The soundtrack provides fitting crackling and scraping.
Ever since electricity began its triumphal march into homes, there have been conflicts about its origin and use. At the beginning the country was covered by a black cloud of coal-fired power plants. When people realised that this harms the environment, new technologies were developed to generate electricity. In the year 2020, there are still people who oppose against more environmentally friendly options. Why?
It's a hot day at the municipality's lido. A place where the whole village meets to satisfy their daily need for fries with sausages and to cool off in the lukewarm water of the lake and the pool.
This film is an exploration of unseen but intensely felt encounters: dreams. The fear – maternal fear – of loss, of separation from a child creeps into the self, bypassing the defence mechanism. Fear expands in dreams. The film’s images become a potential substitute and a release from the terror of these haunting, unimaginable sensations.
Educational short about traffic in Berlin.
Documentation vs. imagination. Under the title LDAE (German acronym for “let the others decide”) Christoph Schwarz develops a participative format for an art program. The filming of his new film should be broadcast online and a web community should direct and decide on the plot, locations, and final edited version. Schwarz hopes to reach artistic heights – but comes to a crash landing.
In the spring of 1997 I placed the camera in front of a mirror and filmed the camera and myself at the same time as manipulating the camera in ways not recommended in the instructions for use. When the film came back from being developed, I was forced to think "Whew". The camera looked much better that I did and I wanted to destroy the film immediately. Dietmar Brehm
The film LOCKDOWN CHILDREN'S RIGHTS gives a voice to children and adolescents, but also to experts who are concerned with their health, and can provide insight into the traces that dealing with the Corona crisis has already left and will continue to leave. This film was developed together with children and young people: they filmed from their point of view and thus show how the lockdown affects their very personal experience.
Michael Lanzmann, a Viennese Jew of the war generation, receives a letter.
"Drag-Attack" is an utterly fantastical film composition from the true life of two created characters, the drag queen Chantal St. Germain (Ken Krüger) and Dame Galaxis (Mario Soldo), as they journey around the world.
Their ethnic roots are different and they are neither blond nor thin; this a cappella ensemble is their own creation. Three powerfully voiced singers and their pianist tour Austria and Germany, performing a program of soul and gospel. Trendy cafés and village church, everyday life as a musician and survival away from the international charts.
After the war in Croatia. Everyday life and the way things were during this civil war. A war which was started by the Others, a war no one wanted an which is not really over, although the fighting has stopped. The breakup of the former Yugoslavia and the birth of a new nation is the backdrop in front of which people live their lives.
For years the warships of the Soviet navy have been on sale. The destination of these ships on sale is Alang, a beach near Bombay. The cinematographic voyage shows a part of the last voyage of the cruiser "Admiral Fokin".
Three men are sitting in a waiting room. A joke with a daring anti-punch line: a four-minute cinematic irritation about the eccentric Austrian psyche. Or: a rubber raft, a rifle, a duck, the hunt for a feather - and the departure for the glistening other side, in other words: the other side of the door.
I dreamt I had left the walls of my room to descend and immerse myself in things. What wind was it that moved me, when I felt the lake, the woman in the fire, the nets, the stone labyrinth, the bowl, the clay and the sound?
A female star walks through a thunderstorm of flashlights towards the reporters - and says something unexpected.
Set theory, one of the cornerstones of mathematics, serves as a metaphor for “social structures as spatial arrangement”, as the first sequence of the film reveals. The visual playfulness first becomes an exploration of two- and three-dimensionality and then turns out to be a well-founded reflection of social power relations. The search for a supposedly correct “order of things” triggers the compulsive element in many viewers. Who’s (not) afraid of being different?
A married man going astray hires a young waiter to watch his lover. This waiter fills in for him when he happens to have no time and is forced to deal with his wife. The paid friend takes his job more than seriously and is responsible for some surprises.
Kalah is an old Arabic mathematical game, played by two people with 72 stones. The film is a "mapping" of the moves of a game that ends in a draw: each stone corresponds to a sound and a colour.
Three continuous zooms towards a landscape are deconstructed into a discontinuous appearance of single frames. The panoramic view is obstructed, the organic movement of the hand dissolved into structural variation of the basic units of film. Indexical content is inevitably present on the physical film strip and yet lost in the structure of the film. The closer you get to what is out there, the more it disappears.
An outsider's look at the atmosphere in the American midwest at the beginning of the Iraq war.
With the act of capturing the strange worlds on film, one's own presence is unveiled as exotic.
Restricted area in the middle of Lower Austria's Waldviertel region: Allensteig military training area: on the map, a patch mostly shaded in red. The little-known history of this landscape of ruins begins in 1938, when, in the wake of the annexation by Hitler's Germany, the area was declared a military training ground. As a result, more than 40 villages were resettled between 1938 and 1942.
The artist, Claudia Larcher, animates photographs of works by the influential German-American architect Mies van der Rohe.
Digital time thieves from our epoch and their ongoing daily routines. How do we (not) want to live in a future society?
‘Pomp’. Last chapter of the series. The colors blue and gold are dominating this film. ‘The Blue Hour’ – glittering stars at the night sky and on vaudeville stages. Finger dances in golden gloves of satin, full glasses of champagne in circle choreographies, collective ‘Golden Showers’. Performers in bluecatsuits. Everything moving in circles. Pure ‘Pomp’.
This film deals with, in a self-reflecting way, the obsolescence of analog media induced by digitalization. The narrative arc stretches from the beginning of reproduced writing all the way to the analog moving images: their triumph, their decline, and finally their continuing afterlife as a bright light of the avant-garde, reaching us through the pixel streams emanated by innumerable clouds.
Electronic exorcism? Computerized global burning? Digital dance of death? In the beginning reMI's video zijkfijergijok makes a textual reference to eschatology and other finalities. Excerpts of collages from an old folio apparently a religious book of instruction or lamentations supply the background which is evenly overlapped by violently chaotic grids. Everything is reduced to fractions of seconds and dissected or shredded to the scale of subliminal levels of perception.
Hitting one´s head upon a wall is a worldwide known gesture. Desperate people who do not know what to do next might hit their heads against walls. This is not always literal. It is more often a metaphor for not knowing how to get around a strong sense of frustration. But if we observe this movement as an instrument, a hopeless action begins to transform into an absurd repetition. In the compositions, my head is played as instrument in multiple contradictory locations and creates an audiovisual urban "landscape" of the world.
When Japan opened its borders in 1854 after a period of extreme closure, it was revealed that there were thousands of Japanese Christians hidden around the area of Nagasaki; they had survived during 240 years secretly practicing their religion in their homes. Western nations received the news with joy, but the laws prohibiting Christianity in Japan were still in force, which caused a last wave of religious persecution, the most savage of all. This true story tells the personal experience of one of the survivors, Jinsaburo Moriyama, who was jailed in the prison camp of Tsuwano from 1867 to 1873, when the persecution stopped due to the international pressures.