IN TROUT WE DUST
Dieter Kovačič’s In Trout we Dust is a particularly sophisticated and well-crafted documentary. A real pleasure for the eyes (and the ears), a brief but exciting journey into a world that few truly know from the inside.
Dieter Kovačič’s In Trout we Dust is a particularly sophisticated and well-crafted documentary. A real pleasure for the eyes (and the ears), a brief but exciting journey into a world that few truly know from the inside.
In KLITCLIQUE’s music video Auto, many clichés are deconstructed through an approach that is both critical and ironic. Anna Spanlang subsequently explored this same theme in several of her later works. Always in search of new cinematic languages, of course.
vers.augt highlights the very act of watching. In this sense, it is impossible not to think of the viewer’s eye, but above all, more generally, of cinema itself, which is capable of offering us the most diverse spectacles each time.
Aquamarine is a little symphony performed by an equally little orchestra. And watching it all on a movie screen with the right music, what we see before our eyes is pure, simple beauty.
With Stille Nacht, Hubert Sielecki has made a rather realistic, at times ruthless and painful, but extremely sincere short film that attacks, first and foremost, all the hypocrisy that has accompanied Christmas and everything associated with it for far too long.
Spain is a film that plays on the concepts of time, violence, but also loneliness and destiny through many stories of as many people who inevitably end up influencing one another.
Out of the Void stands out for its hybrid staging, in which classic interviews and documentary footage alternate with archive footage and even fictional scenes shot for the occasion. At the Viennale 2025, monography Angela Summereder.
In Tic Tac, Josephine Ahnelt chose to focus on bodies and faces, favouring moments of “waiting” or simple observation over actual action. And so the focus on emotions immediately becomes the film’s main protagonist.
In pasolinicode 02112011, it is above all an atmosphere of sacredness that accompanies us from beginning to end, an essential component in paying sincere and reverent homage to great Pier Paolo Pasolini.
With Helmut Berger, Actor, Andreas Horvath has given us a surprising, sometimes even shocking, similar to a roller coaster ride, but also extremely human work. At the Venice Film Festival 2015, Venezia Classici section.