Actor: Maria Hofstätter



The Whore’s Son is the story of a desperate mother-son relationship. A continuous chasing after each other without ever actually meeting. A love-hate relationship that can often lead to the most extreme solutions.


Good feelings and stories with happy endings are always appreciated. Especially at Christmas time. And although Das Glück ist ein Vogerl does not stand out for special insights or directorial virtuosity, it works above all because of the excellent performances of the entire cast.


Help, I Shrunk My Friends is clearly inspired by the now cult film Honey, I Shrunk the Kids. But if those nostalgic for that film – as well as for the glorious 1980s – are hoping to re-experience the same feelings they felt when watching Joe Johnston’s film, their expectations will inevitably be disappointed.


Poppitz is hilarious, irreverent, not afraid to highlight the habits and faults of the upper middle class and, in recounting poor Gerry’s misadventures, draws a comprehensive fresco of contemporary society. A superficial society that only cares about ‘appearances’ and considers luxury as the solution to any problem.


Fast paced, impeccable editing, an apparent daily routine that opens the feature immediately give us the idea of a thrilling action film, given also – and above all – the particular setting chosen by the director. And, in fact, there is plenty of action in Cops. And yet, this feature film is not just that.


Director Ulrike Kofler tried to depict the crisis of a couple who cannot have children in her debut feature What we wanted (original title: Was wir wollten), based on the short story Der Lauf der Dinge by Peter Stamm, distributed by Netflix and presented by Austria at the Oscars 2021 as a candidate for Best Foreign Language Film.


If, on the one hand, Twinni seems, from a directorial point of view, a little naïve, it is above all the carefully studied cinematography in predominantly pastel tones that immediately takes us back to the 1980s, with a series of poetic and nostalgic images that never seem excessive or cloying.


What we witness in Superegos is a true crescendo. Of emotions and of extreme situations. And the feature film – which is mainly supported by the excellent performances of André Wilms and Georg Friedrich – does not lose credibility, but, on the contrary, thanks to a script that has no particular ambitions other than to laugh at what has made nations such as Austria and Germany ‘famous’, manages to always maintain a good rhythm. Even when the ending seems a little too hasty.


India is the story of a great friendship. Of a friendship which is so strong that it is able to overcome any adversity. Josef Hader and Alfred Dorfer, for their part, have accomplished an excellent script, perfectly combining comedy and tragedy, in a deep and never predictable reflection on life, death and the importance of interpersonal relationships.