VATERTAG
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.
Actor: Simon Schwarz
PERLA
Trauma, identity, but also a deep sense of guilt and subtle manipulation make Perla a particularly complex and well-written work, in which each individual character is multi-faceted and in which everyone can be considered both victim and perpetrator at the same time.
WIE KOMMEN WIR DA WIEDER RAUS?
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.
NEW TALES OF FRANZ
New Tales of Franz hits the mark. And it does so with a minimal running time and captivating editing, bringing to the movie screen a compendium of friendship, courage and consistency that is certainly educational and pedagogical for the audience for whom it was intended.
ANNA FUCKING MOLNAR
In Anna Fucking Molnar, Sabine Derflinger has mainly played with some of the constants of her cinema, making her film an extremely topical comedy with a strong feminist character.
TALES OF FRANZ
Tales of Franz stands out immediately for its extremely simple and linear narrative structure, almost completely devoid of subplots. And if, on the one hand, the story of Franz and his friends is exciting and amusing, on the other hand, one feels the need for a few more twists and turns, as well as necessary insights into some secondary characters.
THE HAWK
The Hawk is a bizarre, irreverent feature film with an almost TV-like style, which, through a simple and at the same time complex story, questions certain family dynamics and precarious balances that risk breaking down forever when the past comes knocking at the door again. At the Diagonale’22.
DAS GLÜCK IST EIN VOGERL
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.
AUFSCHNEIDER
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.
CAVIAR
This brilliant Caviar – Elena Tikhonova’s second feature – boasts rhythms that are well marked both by an expert and self-conscious direction – complete with short animation inserts and Tarantino-like titling – and by an appropriate, lively and distinctive, but never over the top, musical score.