In It’s all going South, the directorial debut of Pia Hierzegger, the journey of the three protagonists immediately becomes a metaphor for a profound and often complicated inner journey, at the end of which one can discover a new, beautiful way of understanding life. At the Diagonale 2025.
Following the model of the first chapter, director Eva Spreitzhofer also uses the same basic topic for Wie kommen wir da wieder raus?, i.e. the shocking announcement of a rebellious daughter, which will wreak havoc on the precarious relationships that usually lie behind every family.
Breaking the Ice is the story of a long and often painful growth path. The self discovery and the importance of interpersonal relationships. A completely personal, extremely intimate and never trivial story, with a strong, well-marked personality. At the Diagonale’23.
In Hotel Rock’n’Roll one never knows what to expect, and alongside amusing misunderstandings, clumsy policemen, “impossible loves” and speed cameras ready to treacherously take photographs, there is always time for an evening with old and new friends, singing and drinking merrily.
Family Dinner is a little, elegant horror film that draws heavily on what has been made in the past, but which tries to find its way through a simple, linear story, where subtle perceptions and sensations constantly take centre stage. At the Viennale 2022.
Extremely complex moral issues bring up secrets and grudges, while at the same time giving rise to merciless revenge. Side Effects and Risks stages all this in a never banal or predictable way (thanks also – and above all – to the play by Stefan Vögel from which it is inspired), proving to be a deep and entertaining film at the same time, which, however, precisely because of the particular directorial approach adopted, would seem more appropriate for television broadcasting.
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.
The smart comedy What have we done to deserve this?, the second feature by actress and screenwriter Eva Spreitzhofer, which had its Italian premiere during the festival Sotto le Stelle dell’Austria 2019, aims to break up every cliché by focusing on a world with which we are in close contact, but of which we in fact know far too little.
The Ground Beneath My Feet is a simple, weak, poorly calibrated family story that merely superficially investigates a relationship that is much more multifaceted and complex than it may initially seem to be.
Wild Mouse, written, directed and performed by Josef Hader, stages a (not too) soft critique of society and the world of work.