Month: October 2022

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SPARTA

A strong inner conflict is the real focus of Sparta. Ewald laughs when he plays with the children. Slowly, however, his laughter turns into a cry. A cry that nobody notices, that only vents inside a car or in the retirement home where his father is. Subtle facial expressions say more than a thousand words. Ulrich Seidl (and the excellent Georg Friedrich) render all this perfectly and show us how the protagonist is actually the only real victim of his own weaknesses. At the Viennale 2022.

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THE WHORE’S SON

The Whore’s Son is the story of a desperate mother-son relationship. A continuous chasing after each other without ever actually meeting. A love-hate relationship that can often lead to the most extreme solutions.

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THE FAIRY DOLL

Undoubtedly, the story staged by E. W. Emo in The Fairy Doll is nothing particularly original. It could even be stated that the feature film has acquired particular historical importance today precisely because it is one of the films in which Romy Schneider’s parents took part when they were young. Yet, despite everything, we must recognise a certain grace and elegance in the staging of the tender love story between the two young protagonists.

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MAPPAMUNDI

In its complex simplicity, MappaMundi successfully depicts the history not only of our planet, but also of mankind, even hypothesising a (not) too distant, but practically inevitable future. Can there ever really be a definitive end, however? Bady Minck does not want to formulate any precise theory on the matter.

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AUSTRIAN PROLETARIAN CINEMA – DOCUMENTARIES AND NEWSREELS

With regard to the emergence of Austrian proletarian cinema, documentaries showing us not only strikes and protests, but also events such as funeral ceremonies proved to be excellent historical documents showing us the participation of the people in certain demonstrations, but also the consideration given to the various social classes.

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A MODERN EVE

A Modern Eve reveals a cynical but also amused approach to married life. No one is really innocent, everyone, in this little film by Johann Schwarzer, has their own little, big secrets. The director, just as with all his other works, is never judgmental, but observes his protagonists with affection and benevolence and above all wants to give the audience a few minutes of light-heartedness.