Month: November 2020

THE MOST BEAUTIFUL PLACE ON EARTH

A documentary, The most beautiful Place on Earth, which, with an aesthetic that focuses mainly on the essential and which makes long moments of contemplation its trademark, points the finger directly at those who, devoid of any independent thinking, allow themselves to be led by the hand by “experts”, deciding to support one or the other party, depending on what is convenient for them. Just as a group of Orwellian quacking geese would do.

FORWARD

Superficial civic commitment is constantly placed side by side with paradoxical and sometimes even somewhat grotesque situations in Forward. And the director, for her part, aims precisely at this, without openly supporting this or that party, but drawing a faithful and universal fresco of the world of politics and the exhausting election campaigns.

ONCE WERE REBELS

Once were Rebels immediately presents itself as an ambivalent feature film. If, on the one hand, comedy and paradox reign for almost the entire running time of the film, on the other hand, it soon becomes an analysis of love and family relationships, as well as of the living conditions of some refugees from Russia, who are wanted solely for having tried to defend their freedom.

SIGMUND FREUD – A JEW WITHOUT GOD

The man before the genius. Always. And it is precisely this that David Teboul wants to show in his films. And so, in Sigmund Freud – A Jew without God, the voice-over – the only ad hoc element, which is not part of the original archive footage – simply acts as a connection between one text and the next, designed also – and above all – to give fluidity and completeness to the whole mise-en-scène composed of film footage edited as a fictional feature.

HANS MOSER – HALLO, DIENSTMANN!

There are approximately one hundred and forty films in which Hans Moser took part during his career. And the characters that most succeeded in touching audiences were those of tender father figures, sometimes clumsy and awkward, who often went through important changes or, in any case, served to introduce small comic elements into often dramatic feature films. And so, his unmistakable mumbling voice, his reassuring appearance, as well as his innate comic verve soon became symbols of the glorious Wiener Films.

FILM AND FACTORIES – PART II

In many propaganda films made in Austria during World War I, it was necessary to convey to the nation and the world the image of an Austria where even the enemy was treated with great care, with the possibility of making him in turn helpful to the nation that ‘hosted’ him. Cinema and factories, then, once again formed an essential combination.

AMILUX FILM – WITH SCHIELE XR, AN EGON SCHIELE AS WE HAVE NEVER KNOWN HIM

Who does not know the great Egon Schiele? Who has never had the opportunity to be moved by his invaluable works? Egon Schiele is one of the undisputed geniuses of early 20th century painting. Yet, in terms of his life, no one really knows him. Or, better still, no one (or almost no one) has ever tried to identify with him. Shortly, however, it will be possible to meet him up close, interact with him and experience some particularly significant moments of his life, thanks to the project Schiele XR, directed by Gerda Leopold, produced by Amilux Film and currently being developed.

FISCHE

Pastel-coloured cinematography and an almost naïve characterisation of the protagonists and their gestures immediately give Fische a light, sensitive, almost carefree atmosphere, as if they were in a sort of dimension suspended in time. And this is the perfect counterpoint to the first lines of dialogue between the two young protagonists. All this because of a conflict that can only be overcome when a much-needed lightness is rediscovered.

A PROPOSAL TO PROJECT IN SCOPE

In her A proposal to Project in Scope, Viktoria Schimid has skilfully opted for a minimalist mise en scène in order to show us a kind of Eden, an ideal world where nature in its purest sense blends well with something that man himself has created. And what results is a total, perfect harmony. A harmony that can only be observed in religious silence, without the need for words or redundant captions, but with a directorial approach that closely recalls the cinema of James Benning and is extremely reverent towards what it wants to show.