The Jobcenter opts for the genre of comedy, in which action and music also play a key role, in order to convey not only the emotions experienced by the individual characters, but also an important message (which, hopefully, many will take to heart). At the Diagonale 2026.
With this interesting The Migrumpies Arman T. Riahi wanted first of all to provide us with interesting food for thought through an extremely topical and universal story. At the festival CinemAUSTRIA.
Gloomy colours, a particularly dark atmosphere, minimalist electronic music and slow camera movements (which, in fact, never show us death directly or up close) make Ruletista a merciless yet ironic and grotesque short film, which stands out above all for its wit and originality. At the Viennale 2024.
80 Plus deals with delicate and complex topics in a never banal or rhetorical way, attacking every hypocritical convention and staging first and foremost a great, unexpected friendship, with a tender and sensitive look at elderly people.
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.
In Paradise: Love we find all the constants of Ulrich Seidl’s cinema in a deeply intelligent, painful and merciless work. The cynicism and hypocrisy of human beings, the difference between social classes, but also – and above all – a deep loneliness and a desperate need for love are the absolute protagonists. Can there ever be an even faint chance of salvation? The director seems to have no doubt about it.
The colours of Greece, together with breathtaking landscapes, are treated in Griechenland almost as co-protagonists. Johannes runs from one side of the island to the other in order to understand what is really going on. But, perhaps, only a chat with a fisherman, while stargazing at night, can make one really understand the true meaning of life.
First Snow of Summer, while suffering from excessive rhetoric and scarce originality and relying excessively on emotionality, undoubtedly can be easily enjoyed and, impeccable in its aesthetics, attempts in its own way to make its mark on the national film scene. At the Diagonale’23.
With Die Vermieterin, Sebastian Brauneis has once again made something totally unique. A hilarious and moving work, in which there is also – and above all – an important social discourse. At the Diagonale’23.
Hinterland is an expressionist film. A film in which angular sets, cramped streets, sloping buildings, sinister shadows and oblique shots make us experience first-hand one of the most dramatic periods in history and convey anxiety.