Month: July 2022

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PAST FUTURES

Through numerous analogue films taken over the years and thanks also to copious use of archive footage and documents, Past Futures presents itself as a heartfelt and sincere documentary and is immediately striking for the strongly contemplative directorial approach adopted.

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MAKE/REAL

Make/Real is one of the many possible forms of cinema that could not exist without film history. A hymn to the seventh art, but also to modernity and to all that the near future could offer us.

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ALPENLAND

Alpenland is a picture in danger of becoming increasingly faded. A chorus of testimonies that, all together, long for a recent past and strongly fear a near future.

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MAX REINHARDT – THE IMPORTANCE OF ACTORS

When we think of a name like Max Reinhardt, we inevitably refer to one of the most important personalities of the Austrian and world cultural scene of the last century. Thanks to him, important innovations both from the point of view of staging and, indeed, with regard to the enhancement of actors and their direct relationship with the audience are still being adopted today.

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THREE FARMERS AND A SON

In Three Farmers and a Son, three generations meet, confront one another, collaborate and create, together, a beautiful harmony. Sigmund Steiner, for his part, has sensitively and intelligently captured every single aspect of farmers’ lives and their special bond with the land, leading to a much broader and more complex discourse.

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DIE KLUGE MARIANNE

Die kluge Marianne is an elegant and funny comedy of errors, a story that might seem anachronistic today, but, at the same time, a true declaration of love to women. A film that, even many years after it was made, is perfectly capable of filling viewers’ hearts with joy and optimism.

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SIDE EFFECTS AND RISKS

Extremely complex moral issues bring up secrets and grudges, while at the same time giving rise to merciless revenge. Side Effects and Risks stages all this in a never banal or predictable way (thanks also – and above all – to the play by Stefan Vögel from which it is inspired), proving to be a deep and entertaining film at the same time, which, however, precisely because of the particular directorial approach adopted, would seem more appropriate for television broadcasting.

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HELDENKANZLER

In Heldenkanzler we get a close look at the disturbing figure of Engelbert Dollfuss, whose voice-over tells us about the last years of his life. Two-dimensional drawings, a constant black and white only occasionally ‘contaminated’ by the red of the National Socialist flag or a few other details of the sets perfectly represent the gloom of the 1930s.