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.
In Gina, each individual shot makes us progressively empathise with the young protagonist, an innocent victim, but also a strong and determined child, who is not afraid to take control of her life in order to be finally happy. At the Diagonale 2025.
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.
In Another Lifetime is characterised by an essential staging devoid of virtuosity, within which the clear theatrical structure of the entire work turns out to be extremely precious.
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.
My Best Enemy is a feature film with an international scope, which draws heavily on mainstream US cinema. World War II and the Holocaust are recounted in Austria in an important film, in which, alongside the story of the two friends/enemies and the dramatic war, there is also a great homage to the art world and to beauty.
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.
In her important Fly away Home Mirjam Unger has made everything develop on two distinct levels: on the one hand there is war, poverty, the destroyed city and the army. On the other is Christl with her curiosity about the world and her joie de vivre.
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.
In Falling, Barbara Albert, in staging a strong nostalgia for the past, together with the desire to find oneself and one’s affections, skilfully avoids excessive emotionalism, showing a necessary detachment and a mature rationality in observing the five protagonists closely. Detachment and rationality that, in this case, manage to make us gradually get more and more connected with each individual character.