In Helen A/B + Das Meer, through images captured by the camera directly from a computer monitor, we witness a profound and never banal reflection on how images are manipulated each time, on duality in cinema, and on how certain clichés have now become commonplace.
In Doorfourteen, an empty space can still seem incredibly alive and vibrant, and the stories that gradually come to life are actually telling us not about the flat depicted in the short film, but about the people themselves who are trying to imagine them.
Heading is a brief and fascinating journey into a world we are all familiar with, but certain aspects of which we usually never analyse or observe.
In Dropping Furniture, the ‘past’ comes to the movie screen in a totally ‘unconventional’ way. The objects, dropped by the two directors from a height of seven metres, shatter into a thousand pieces upon hitting the ground. The end result is almost a kind of choreography with a visually mesmerising effect, at the end of which the two initially empty rooms appear wonderfully colourful.
In Instructions for a Light and Sound Machine, once again the focus is on our beloved cinema. Peter Tscherkassky has shown us how great classics of film history can take on entirely different meanings each time, depending on who decides to manipulate them as they wish. At the 2005 Cannes Film Festival, Quinzaine des Réalisateurs.
In The White Ribbon, Michael Haneke is more insightful than ever in his exploration of disturbing dynamics within everyday life. Violence is commonplace. Winner of the Palme d’Or at the 2009 Cannes Film Festival.
In Gebirtig, through a strong script and careful staging with attention to every detail, the drama of the three protagonists is perfectly portrayed on the movie screen. And sometimes, what we see can really hit us like a punch in the stomach. Presented by Filmarchiv Austria on the Filmarchiv On channel on the occasion of the Holocaust Remembrance Day.
With a (seemingly) simple, minimalist and highly experimental staging, words is a metaphorical and imaginative representation of how words are used today and how they are perceived within a conversation.
Jobcenter gives us an up-close look not only at the daily activities inside an employment centre in Upper Austria, but also – and above all – at the feelings, fears and concerns of those who, for one reason or another, are out of work. At the Viennale 2025, monography Angela Summereder.
Vermischte Nachrichten could also be considered, in its entirety, as a film about film-making. And this in the purest sense of the term. Cinema of reality, cinema that doesn’t need any gimmicks to reach the audience with all its visual and communicative power. At the Viennale 2025, monography Angela Summereder.