Sandra Wollner’s third feature film, selected for Un Certain Regard, is a striking reminder that the memories of our loved ones will live on in our world forever; poetic, unforgettable and boldly directed, Everytime is simply the best the Cannes Film Festival had to offer.
In The White Ribbon, Michael Haneke is more insightful than ever in his exploration of disturbing dynamics within everyday life. Violence is commonplace. Winner of the Palme d’Or at the 2009 Cannes Film Festival.
The Blood Countess takes us by the hand on a journey where anything can happen. And through decidedly surreal characters, witty and hilarious dialogue, and “bloody” and wonderfully disturbing moments, it also pays sincere homage to Vienna. At the Berlinale 2026, Berlinale Special Gala section.
In Andrea Gets a Divorce, Josef Hader’s second feature film as a director, comedy and tragedy are constantly alternating, mixing and merging within a mature and intelligent work. At the Berlinale 2024, Panorama section.
Sleeping with a Tiger by Anja Salomonowitz is a complex and layered. extremely rich and sophisticated feature film. A feature film that is never afraid to exaggerate. Just as our beloved Maria Lassnig did in her time. At the Berlinale 2024, Forum section.
The Royal Game is an endless journey between its protagonist’s past and present. The Royal Game is a rollercoaster ride, the meeting point between the outside world and the inner world. An experience that, at times, can really hurt.
In Falling, Barbara Albert, in staging a strong nostalgia for the past, together with the desire to find oneself and one’s affections, skilfully avoids excessive emotionalism, showing a necessary detachment and a mature rationality in observing the five protagonists closely. Detachment and rationality that, in this case, manage to make us gradually get more and more connected with each individual character.
A film, You bet your Life, which focuses entirely on the inner self of its protagonist and which, consequently, boasts a highly appropriate direction, with frequent use of shoulder-mounted cameras and frenetic editing to show us his anxieties.
Hotel sees its greatest strength in a direction made up of static and symmetrical frame compositions, with colours turning mainly to green or red. A power of images achieved thanks to the contribution of the cinematographer Martin Gschlacht, a long-time collaborator of Hausner and co-founder of the production company Coop99.
Perfectly according to the poetics of Veronika Franz and Severin Fiala, The Sinful Women of Höllfall mainly plays with feelings, fears and suggestions experienced by the characters themselves. What is staged is, in fact, the very fear of the Trud and the deep sense of guilt that such a legend has managed to generate in the past.