With Earth, Geyrhalter picks up on a discourse he had already begun in 2016 with Homo Sapiens (also presented at the Berlinale), staging the human/environment combination and closely analysing the consequences it can bring.
The Ground Beneath My Feet is a simple, weak, poorly calibrated family story that merely superficially investigates a relationship that is much more multifaceted and complex than it may initially seem to be.
In Fish takes off, the highly surrealistic character of the story gives a light, lively and carefree character to the work, which is, however, very difficult to manage.
The Children of the Dead immediately shocks, surprises and disorients, filmed entirely in super8, with a look that might initially appear amateurish, but which in fact is not amateurish, and with characters that seem to belong to another world, another era.
From a film such as Heimat is a Space in Time, with its apparently quiet tones that act as a counterpoint to the subjects treated, one can see great pain, strong nostalgia and, above all, a great, great love for roots, family and, last but not least, homeland.
Presentation of the 69th edition of the Berlinale, in Berlin from the 7th to the 17th of February 2019.
In Angelo, through the story of an individual, the director staged the complicated – and sadly topical – theme of diversity, taking the opportunity to develop a lucid and merciless analysis of society and – more generally – of humanity, regardless of the century in which we live.
Joy shows us reality as it is, without sugarcoating anything, and yet is able to play skilfully with the viewer’s emotions even when (not) showing us the many episodes of violence the girls suffer.
The intimate, painful, deeply introspective Introduzione all’Oscuro is, according to the author, the most “spooky” film he has ever made. A film of light, shadows, now clearly defined, now irremediably blurred images.
Austrian cinema and its authors, in the context of well-known and lesser-known film festivals outside Austria.