A sense of melancholy, and at times even nostalgia, but also, at the same time, a welcome touch of irony contribute to making Nachts in der Provinz a feature film with a magnetic charm, which also stands out for its excellent characterisation of the protagonists in all their complex facets.
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.
The comedy Sachertorte is an (often excessive) celebration of young, international love and, at the same time, a tribute to the legend of the world’s most famous chocolate cake.
Made and edited as if it were an ideal continuation of his legacy as an artist, Klimt stages a dramatic depiction of episodes from the painter’s life in a highly imaginative and artificial Vienna. At the Viennale 2023, retrospective Raúl Ruiz.
With Mermaids don’t cry, director Franziska Pflaum has realised a kind of delicate and symbolic contemporary fairytale, in which a magnetic protagonist represents a kind of postmodern heroine on her (often difficult) path towards a new self-awareness. At the Diagonale’23.
My Best Enemy is a feature film with an international scope, which draws heavily on mainstream US cinema. World War II and the Holocaust are recounted in Austria in an important film, in which, alongside the story of the two friends/enemies and the dramatic war, there is also a great homage to the art world and to beauty.
Despite being a debut feature, Eismayer first and foremost denotes great directorial maturity and a never obvious ability to delve into the human soul, managing to capture every subtle nuance of the protagonists’ personalities. At the 79th Venice Film Festival, section Settimana della Critica.
The working-class struggle, the need to ‘grow up’, but also – and above all – love torments are the absolute protagonists in Taking it Back. Andreas Schmied, who has always had a great aptitude for entertaining comedies, has attempted a mix of social discourse and sentimental aspects, paying more attention to the latter.
Fox in a Hole can be considered a film about incommunicability that can only be overcome when a particular common language is discovered. And thus music finally comes into play.
Although Aufschneider stands out immediately for its television-like writing and directorial approach, everything flows in an overall linear way. Every single event, every single story of the characters are somehow connected. Often, however, also in an excessively predictable manner.