Four Minus Three by Adrian Goiginger is a feature film made up of glances, gestures, celebrations, objects and old videos that bring back memories that are both painful and wonderful at the same time. At the Berlinale 2026, Panorama section.
Vatertag is, all in all, an enjoyable comedy that, despite a few imperfections and sometimes overly predictable plot twists, stands out for its good pace and an enjoyable story.
Fresh and light as a spring breeze, yet also deeply dramatic and moving, Coming of Age is a hymn to love and freedom. A love story between two young souls who must come to terms with the inevitable passing of time.
Replay is a sparkling comedy of errors, an evocative and original portrait of Vienna by night, but also the personal drama of a man who has not yet found his place in the world.
Moonbound is all in all an enjoyable, colourful and, at times, adrenaline-fuelled feature film for families. A film with an international scope that, however, both in terms of the script and the realisation of the CGI pictures, suffers greatly from the comparison with other animated films made in the meantime all over the world. At the Diagonale’22.
Der Schutzengel stands out immediately for its evocative noir atmospheres, for places almost isolated from the rest of the world and for an intelligent and never predictable reflection on the nature of human beings. Götz Spielmann’s unmistakable approach did the rest. At the Diagonale’22.
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.
No one is really innocent or completely guilty in Hold-Up. Or, better still, each of the three characters is both victim and executioner at the same time. And this feature film by Florian Flicker stands out above all for its good screenplay, thanks to which moments of tension cleverly alternate with much more light-hearted scenes.
Attack of the Lederhosen Zombies gets us into the heart of the matter almost immediately, creating successful moments of suspense, alternating with deliberately demential scenes. A humour, this one, that is good for the spirit, never excessive or unnecessary and that also reveals a great love for the seventh art.
In Little Big Voice – a television film directed by Wolfgang Murnberger in 2015 – good feelings, in the end – and as one can well imagine – always triumph. And they do so, again and again, in an almost forced way, with overly abrupt narrative twists. So abrupt that they almost lose credibility.