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Scheirl’s body, with brightly painted genitals and harshly lit face, is portrayed in fragments by the camera; Pürrer is also naked. Scheirl is then shown wearing a pink dress with a floral pattern. She lifts it up and pees while standing, before climbing into a tub next to a laughing Pürrer.
Sex is work, in many ways.
A dysfunctional family dinner.
war as typographic animation?
The longing for something to finally happen is fulfilled by a kiss. Not the romantic kind, however, but a monstrous one, a kiss the world will talk about. Thus Dodi plods vigilantly through everyday life and parties, in a cloud of other people’s voices. “EXOMOON” follows her confident path: like a kaleidoscope with creative fractures.
Can school be exciting and even fun? The integrative pre-vocational August Sander school in Berlin-Friedrichshain at least seems the perfect place for this. The noise of the cars of the big city can be heard from the distance, birds are singing on the lush green grounds. Lessons here include horticulture, agriculture and animal care. And when you watch the students weed garden plots and feed rabbits, things look extremely enviable at first glance. But of course, even in this paradisiacal place there are conflicts, annoying teachers and the anxious question: What comes after graduation?
A dreamlike deconstruction of the female body in its movements and wandering through space and in confrontation with visual ruptures. The lyrical composition allows surfaces and gestures to spill out into surfaces of exploration, situating them within the whole of the mastery of the void by physical presence.
Turbulence in a Channel is inspired by Friedrich Ahlborn’s (1858–1937) research on currents, but also by techniques of photographic imaging of water surfaces or lines of force.
A reel of Super8 footage, shot in Brixen Im Thaleset, Austria, set to to the song "Burns" by George Fitzgerald. https://www.youtube.com/watch?v=izYZO8xiNZA
A son embarks on a journey with his father, who shares stories about his life and his profound connection to the Camino de Santiago along the way. Their destination is a distant mountain peak, veiled in mist.
Cockroach-man Mute underbug Bob lives in the tri-factional city of Pitchfork and gets the fuzzy-pop when he must find a cure for Sunshine, the nation’s one and only poisonous beer, after an attack leaves his niece deathly ill. But ... Mutes are banned from beverages. Amidst escalating chaos at work and the terrible orchestrations of a master puppeteer, can Bob be the hero as his investigations into the sound of things hit a clanging pitch? What is wrong with everybody’s ears and what has it got to do with beer? He must literally put himself into his work if he is going to top the charts (and get the girl) but will anybody listen?
A short horror cooking video for delicious finger food for Halloween.
Revisiting places and memories of Fatma Selek, the grandmother of the filmmaker, who came to Wels, Austria, in 1973 as a guest worker. Her interview from 2012 gives insight into her experiences and struggles, such as being separated from her children for years, language barriers and the feeling of being torn between two countries. Her voice is accompanied by black and white Super 8 footage of places that shaped her life in Austria. Filmed fifty years after her arrival in Wels.
One foggy day a handsome Dracula is looking for a female victim.
Stylistically monochrome and reduced in its use of language, the approximately 9-minute short film Allerseelen is a retelling of a nightmare actually experienced. For this reason, its narrative style largely dispenses with a strictly coherent and clear narrative and instead focuses on purely associative connections and dream logic.
A strange and curious world: artificial scenes, a monster claw, a dancing razor, spilled liquid. Direct from a heaven of tangled cinematic ideas.
In her cinematic encounter with the painter and graphic designer Florentina Pakosta, Christiana Perschon shows a person seeking freedom who turns the artistic exploration of her face into a resistance against her own transience and patriarchal conditions.
Diary film about the incompatibility of family and career
Experimental film
Shot near Marseille in a grotto overlooking the Mediterranean, ‘You, My, Omma, Mama’ depicts a journey through space and time in search of our grandmothers and connections to our past, towards the history of the future. The world Prouvost invents here might perhaps originate with the 11 cm figurine known as the “Venus of Willendorf” as great-grandmother of us all. The artist borrows the story of this stone-age sculpture, reinterpreting and interweaving contextual motifs. Among the many interpretations that fascinate Prouvost is one whereby the figurine, named “Venus” by her finder, might not be a fertility symbol but rather a representation of a wise grandmother.
Filming and calling the result a diary is literary. It is filmic to write a film diary and have this writing scroll by as film.
The short documentary shares the story of Max's identity search and self-realization in an environment not yet ready for it. Max shares an intimate conversation about his complicated growing up. Without showing him, the film reveals a lot about Max and at the same time about our society. Max's easy-going manner combined with meaningful images and his powerful stories result in an unusual, moving dynamic.
Vienna as a city in (worrying?) flux: this socially engaged documentary works as a subdued but heartfelt elegy to a multi-use Donaustadt building from the 1970s, evidently beloved by its residents and visitors but now threatened with redevelopment. It’s a finely etched microcosm of wider issues in the capital (and elsewhere), comprising judiciously framed and fluidly edited shots burnished by warm voiceover testimony from multiple unseen protagonists.
The technical person responsible for the color program at ORF, Mr. Vostrowsky explains the change from black-and-white to color TV. The Interview was shot on black-and-white-film, a mistake that needed to be corrected.
The camera, mounted on a blender, films Machacek's performance as he moves slowly from the background to the picture's center for the purpose of interfering with the video image's mechanical progression with his own body.
Following a climate catastrophe, Andy uploads themself into the digital afterworld. Even though they have a hard time adapting to the digital world, the omnipresent superintelligence insists that paradise is right here. The film was mainly shot in the metaverse Second Life.
"Blütezeit" is the first stop-motion short film project by Michael Winiecki.
Florian Flicker’s documentary No Name City explores the tragicomic fate of the eponymous Western theme park in Lower Austria that proved to be a pipe dream. Viktoria Schmid’s W O W (Kodak) shows the demolition of parts of the Kodak company complex in Rochester—in reverse.
Associative images celebrate the rapprochement between meteorite particles and people. Ralo Mayer’s film asks if we could become accustomed to a life beyond earth, and with lingering shots, pushes the border of our physical adaptability. It is a literal embodiment of the universe, a festival for cosmic rock lickers.
Four scenes mounted side by side engage in a mutual dialogue. In it, Saphira, a black woman with a Jewish mother who immigrated from England to Vienna and Muslim father from Ghana to Vienna, speaks with changing counterparts. In talking with one another, one’s own history turns out to be more than simply written down. It’s first constructed, experienced, and questioned in relationship to others.
In magnificent shots of animals and plants from amateur films, Sara Piñeros discovers a possible escape from herself. Rather than looking at the found footage that flashes as if from a dream world, she lets it take her into a kaleidoscopic self-perception in which her language and feelings are allowed to reassemble.
An undefinable plastic object drifts through blue waves. A faded clothespin bobs up and down in a pickle jar. Objects of a bygone daily life are brought back to the city. Disruption. Discomfort. In the form of small interventions in public space, the redundant objects become active objects of disruption whose potential for resistance is playfully and humorously explored in Afterlives.
Ida strolls down the Donaukanal in Biedermeier dresses and hip sunglasses. At the age of fourty-four, she leaves behind her life as a housewife to follow her urge to see the world. Starting from historical travelogues, simulated archive material, and playful anachronisms, collages, and animations, Wo ist Ida tells fragments of what Ida Pfeiffer might have seen and experienced when she became the first woman to travel alone around the world in the 1840s and 1850s.
The last masters of the branch work in one of Austria’s final remaining sewing and textile factories. Here, the tranquil camera blends into daily events and taps into a space that is shaped by mutual care and solidarity. A rare, intimate gaze at the biographies of contemporary workers in times of a changing textile industry.
To stop the planned road construction in the Lobau nature reserve, activists form resistance that goes far beyond the demands for a shift to sustainable transportation means. BESETZT – Lobau Bleibt accompanies their everyday lives at the occupied construction sites and observes how a community forms, rethinks society, and discusses and tries to live out anti-capitalist alternatives.
For the first time after her parents’ death, Rosaenters their house: a castle in the countryside. Alone, she walks through the rooms, her parents’ last hours, and various phases of mourning. And somewhere between interior and portrait, between heritage and emancipation, the question arises as to why things are still in their places, while nothing else will ever be the same again.
Platform diving is Ari’s great passion.The outdoor swimming pool is his refuge from a bleak day-to-day life and from his jaded mother who spends the majority of her time watching superficial infomercials on TV. When Ari wants to show his worth to a youth gang, he has to face one of his biggest fears: the 10m-tower. Maybe the Olympic champion Dmitri Sautin can help?
Crying infant and the metaphorical resolution in a digital order in the binary code of 0 and 1.
Election propaganda film by the SDAP, which finds visual arguments for the new housing policy of the city government in a comparison of imperial Vienna and the misery of the suburbs
Russian literature is inconceivable without Pushkin. It draws its sustenance from Pushkin; it breathes Pushkin. During his brief 38-year life, he produced a torrent of some of the most wonderful poems, plays and stories. Pushkin wrote the short story The Queen of Spades in 1833, in the space of a few days and ‘in a cold fury’: a brief text, with strong accents and a focus on psychology. More than 50 years later, Tchaïkovski drew inspiration from this story to compose an opera. For the 2018 Salzburg Festival, Mariss Jansons conducts the Vienna Philharmonic Orchestra, and Hans Neuenfels directs Tchaïkovski’s ‘The Queen of Spades’ at the Großes Festspielhaus. Hanna Schwarz plays the Countess. Evgenia Muraveva sings the role of Lisa, Brandon Jovanovich is Herman, Vladislav Sulimsky plays Count Tomsky / Plutus, and Igor Golovatenko is Prince Yelezky.
A kaleidoscopic mosaic juxtaposes images and stories from Spanlang’s cell-phone recordings. Her epos is not only an ode to sisterhood, but also a story of patriarchy and what it represents: colonialism, capitalism, environmental destruction and violence.
Over cigarettes and wine, Hermi chats more about the past, less about the future. Old age, retirement, new men and dogs. In short: she doesn't want to know anything about change - and yet a turning point in her life seems to have been reached.
What’s at the bottom of the laundry basket? A psychedelic swirl through a mound of colourful clothing.
Erich Taschek, filmmaker Michaela Taschek´s father, used to be a fun-loving and sociable man. But then "Eichi" turned into a taciturn loner who locked himself in the cellar to make models and hardly ever left the house. After his death Taschek uses family photos and home movies to invent a wild doppelganger theory that provides a plot for her long lasting feelings of alienation. An essay about disappearance and the power of projection in "documentary" images.
Nana Swiczinsky photocopied her original, geometric cell (a black ellipse) and during the process moved it around resulting in deformations. The images so formed are put into short series, so that the order given to the variations result in more or less continuous movement. It is a re-translation of the manipulation during the photocopying process into cinematographic movement. The animation results in vibrations and distortions of the graphic screen, it warps the two-dimensional surface into quixotic impressions of space and at times completely dissolves the strict geometry into flowing lines.
The film tells the story of siblings Nina and Ben, who live together in an apartment on the 21st floor of the Maria Theresa high-rise in Wels. Their parents aren't with them. The situation seems problematic. Although Ben is already an adult, he's currently jobless and, after his girlfriend Tamara left him, spends his days in his room, refusing to let even his sister get close to him. When Nina returns from shopping one day, Ben has disappeared. She goes looking for him.