Month: January 2024

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A PERFECT PAIR

A perfect Pair is distinguished first and foremost by the subtle irony and self-irony that has always characterised the works of VALIE EXPORT. The protagonists seem almost like caricatures, but, in fact, they fit well into a context in which advertising and the exhortation to consumerism play a central role.

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BALL-HEAD

Mara Mattuschka’s Ball-Head shows us the human body that has become a kind of ‘tool’, a victim of a society in which work, technology and capitalism seem to have forever forgotten the value of human beings themselves.

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THE LAST REAL MEN

In The Last Real Men, Ulrich Seidl’s camera remains constantly fixed on showing us the protagonists as they recount in turn their experiences. For almost the entire documentary, as often happens in his work, reality is shown to us as it is. And in showing itself as it is, it comes out with all its absurdity and ridiculousness, revealing itself to be much more dangerous than it might initially appear.

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CROWN PRINCE RUDOLPH’S LAST LOVE

Despite being a heavily fictionalised feature film with many flaws, Crown Prince Rudolph’s last Love by Rudolf Jugert works. And it does so with a decidedly simple screenplay, which focuses first and foremost on the essentials without digressions and almost entirely devoid of subplots. Everything foreshadows an impending tragedy. The shadows get the better of the lights. Mary Vetsera’s naive face speaks for itself.

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JOSEF HADER – WILD HADER

At the Berlinale 2024, Josef Hader will premiere Andrea gets a Divorce, his second feature film as director. Considered to be Austria’s greatest cabaret artist ever, Hader has achieved numerous successes throughout his career, especially in German-speaking countries.

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WHO WAS EDGAR ALLAN?

Who was Edgar Allan? is a sophisticated detective story with a noir character in which a Venice that is often quite different from how we are used to imagining it acts as the perfect co-star. Michael Haneke, for his part, has succeeded perfectly in staging an intriguing yet twisted and highly controversial story.

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NAVELFABLE

In NavelFable, Mara Mattuschka has opted for a minimalist yet highly experimental mise-en-scène. A simple stop-motion animation, together with extreme close-ups, details of screaming mouths covered by nylon stockings and drawings directly tracing the various rips on said stockings fully convey the idea of what the director wanted to communicate to us.