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.
There is not a moment during the screening of Stroke of Luck in which the audience can really catch its breath. Everything unfolds very quickly and the protagonist’s situation – which, at first, seemed so idyllic as to seem somewhat artificial – inevitably takes a turn for the worse, with corpses to be hidden and welcome noir atmospheres contrasting with the evocative and contemplative views of Vienna.