DRAGA LJILJANA – DEAR LJILJANA
Draga Ljiljana – Dear Ljiljana first of all shows us the scars of recent wounds and how they change depending on how everything was experienced by each person.
Category: 2000
LIVING IN A BOX
Director Jörg Kalt listens attentively to the protagonists without ever judging, but immediately becoming their precious confidant. His Living in a Box tells us about each one of them, about the many balances within tiny rooms that, in turn, can often turn out to be little corners of happiness.
ZERO CROSSING
Zero Crossing was realised by Johannes Holzhausen in just three days. Nine people were interviewed inside a small room. What will happen to them, their children, their jobs? Will it still be possible to go on living peacefully in an Austria where there seems to be no more respect for human beings themselves and where certain dynamics of the past seem never really forgotten? Within the retrospective Österreich real of the Filmarchiv Austria.
NOTES FROM THE BASEMENT
In Notes from the Basement, Rainer Frimmel has selected and edited a series of films shot by the stretcher-bearer Peter Haindl between 1993 and 1999. Films in which the protagonist first shows us the house in which he lives, then finally appears in front of the camera, tells us about his everyday life and his attitude towards life and the world around him. Just like the protagonist of the famous monologue Der Herr Karl, written by Helmut Qualtinger and Carl Merz in 1961.
HOLD-UP
No one is really innocent or completely guilty in Hold-Up. Or, better still, each of the three characters is both victim and executioner at the same time. And this feature film by Florian Flicker stands out above all for its good screenplay, thanks to which moments of tension cleverly alternate with much more light-hearted scenes.
O PALMENBAUM
It’s immediately clear that O Palmenbaum is not an ambitious feature film. Its main purpose is to stage the bizarre adventures of the Treichl/Moor families, which the audience loved so much in Single Bells. And this, considered from this point of view, works, especially if one thinks that, compared to numerous other sequels, the structure of the previous feature film is never taken up, in order to create a sort of “carbon copy” of it.
COME SWEET DEATH
With a good touch of irony and just as a strong criticism of the National Health Service (and others), Wolfgang Murnberger’s Come Sweet Death sees its protagonist – played by comedian Josef Hader – as a sort of unintentional hero, an apparently bored man who does nothing but turn to alcohol and smoking to forget his loneliness. The director, on the other hand, does not hesitate to show us the worst of society without sparing us anything.