Month: April 2020


There is not a moment during the screening of Stroke of Luck in which the audience can really catch its breath. Everything unfolds very quickly and the protagonist’s situation – which, at first, seemed so idyllic as to seem somewhat artificial – inevitably takes a turn for the worse, with corpses to be hidden and welcome noir atmospheres contrasting with the evocative and contemplative views of Vienna.


Who are we? How long-lasting are the traces we leave on this world? Betty Blitz’s Night Fly shows a totally new way of looking at the reality around us, a totally subjective way of considering not only a single city, but – more generally – the whole world, with its constant urbanisation and the pressing birth of new, singular universes, questioning itself about the meaning of things, but without wanting to give precise answers on the matter.


Sophia Hörmann’s camera proves, in Endstation Seestadt, to be particularly skilled in depicting the bodies of the actors, in continuous dances where, in an intertwining of bodies, arms and legs, a single individual can no longer be distinguished, and where everything, from the outset, takes on symbolic and spiritual significance.


For one day only, Roman Chalupnik visited the workshop of June Leaf, widow of photographer Robert Frank. Yet, in just under eight minutes, he has managed to bring the very essence of her art to the screen. And it is precisely with a carefully rendered black and white that the director’s camera focuses on the artist’s hands intent on creating new sculptures, on her tools and small objects that she had previously created.