Homemad(e) Backdrop Blur
Homemad(e) Poster
7.1 1h 24m

Homemad(e)

Marc Aurel-Straße in Vienna: The last surviving Jewish textile merchant in the former textile district, the Iranian hotel proprietor and the Café Salzgries and its regulars. Between the summer of 1999 and spring 2000, Ruth Beckermann undertook a series of small journeys on and around her own doorstep and investigated her local area with the help of a film crew. This documentary film also gives an insight into the political changes when a far right Party joined the Government coalition in Austria.

นักแสดงนำ

  • Adolf Doft

    Adolf Doft

  • Helene Doft

    Helene Doft

  • Erika Göschl

    Erika Göschl

  • Dieter Haspel

    Dieter Haspel

  • Tina Reimann

    Tina Reimann

  • Senta Segall

    Senta Segall

เรื่องย่อ

Marc Aurel-Straße in Vienna: The last surviving Jewish textile merchant in the former textile district, the Iranian hotel proprietor and the Café Salzgries and its regulars. Between the summer of 1999 and spring 2000, Ruth Beckermann undertook a series of small journeys on and around her own doorstep and investigated her local area with the help of a film crew. This documentary film also gives an insight into the political changes when a far right Party joined the Government coalition in Austria.

คะแนน

7.1 / 10
4 รีวิว
0 ยอดนิยม

ภาพยนตร์แนะนำ

We Live in Public

In 1999, Internet entrepreneur Josh Harris recruits dozens of young men and women who agree to live in underground apartments for weeks at a time while their every movement is broadcast online. Soon, Harris and his girlfriend embark on their own subterranean adventure, with cameras streaming live footage of their meals, arguments, bedroom activities, and bathroom habits. This documentary explores the role of technology in our lives, as it charts the fragile nature of dot-com economy.

We Live in Public

6.9 2009
Cameraperson

As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.

Cameraperson

6.7 2016