The first chapter of the Heimatfilm-Trilogie (which also includes Farewell, 2014, and Heimatfilm, 2016), My Father’s House, dedicated to the director’s recently deceased parents, stages – like the author’s other films – an important inner change and can rightfully be classified as his most intimate and personal work.
The discovery of one’s homosexuality and, at the same time, the progressive knowledge of one’s body, are the main protagonists of Nevrland, in which Gregor Schmidinger has opted for a completely unconventional and, at times, highly experimental staging.
Leaving aside any controversial issue of purely historical and productive nature, the beauty of a film like Werner Hochbaum’s Suburban Cabaret must be acknowledged, since it bears precious witness to a key era for film and beyond.
According to the author’s words, it is a sort of Odyssey with no return, Egyptian Eclipse. A journey, above all an inner one, that slowly leads to the abandonment of everything related to the past – and, with it, also of the attachment to any material good – and that culminates in the middle of a symbolic desert.
The particular contemplative mood of To the Night is quite appealing. Despite his young age and his limited experience behind the camera, Peter Brunner has the great ability to stage, in a very personal and sincere way, a deep inner torment that is extremely difficult to analyse.