Divided into three episodes, Antares is a complex and layered fresco of contemporary society. Three stories, three different lifestyles, one setting. Antares does not only tell us about impossible loves, desperate loves, tormented loves and secret love affairs. Antares stages Love as utopia, a constant, desperate need for love that often also leads to a deep sense of loneliness.
No one is really innocent in Life eternal. And even if past faults come to the surface, we gradually discover that those whom we initially considered to be completely negative, also have a tender and friendly nature after all.
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.
Dealing with love – and, above all, understanding its true meaning – is not at all easy for Charlie and her friends. The same applies to eroticism, which they consider almost an antidote against boredom, but which, in fact, pervades the entire Beautiful Girl with a pulsating, implicit tension.
Dinner for two – made for television by Xaver Schwarzenberger, the long-time cinematographer of the great Rainer Werner Fassbinder – aims above all to be a fresco of Viennese society – and, more generally, of the world in which we live – without taking itself too seriously. A long journey through Vienna where anything can happen.