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.
In The Flounder, inspired by the fairy tale The Fisherman and his Wife by the Brothers Grimm, the images simply speak for themselves. And in little more than six minutes they are able to convey an important message by filling our eyes with pure beauty. At the festival CinemAUSTRIA.
Taking direct inspiration from the paintings of Oskar Kokoschka, I’m Ok consists of many brushstrokes predominantly in shades of ochre, red and black and two-dimensional drawings with a distinctly expressionist character. The artist’s art and style are therefore the absolute protagonists, yet, at the same time, Elizabeth Hobbs has skilfully avoided any rhetoric, giving her short film its own, marked personality. At the festival Sotto le Stelle dell’Austria 2023.
The Tobacconist is undoubtedly an interesting feature film, but it gets lost in the many paths it decides to take. And not even the presence of Bruno Ganz or a cameo by the great Erni Mangold can do much.
Doppelgänger is a heartfelt farewell letter to a person who is no longer with us. An extremely intimate and personal documentary that relies entirely on a simple and direct, but also well thought-out directorial approach. At the Viennale 2022, section Österreich real.
It is not a film with many pretensions, Help, I shrunk my Parents. Not even as far as the various script twists are concerned. The story unfolds in an often predictable way, albeit with good dynamics, and the young audience seems to be happy with it.
There is no need for any caption in The Days and the Year. The images simply speak for themselves and through a strongly contemplative directorial approach they find their ideal depiction.
In Boomerang we find all the constants of Kurdwin Ayub’s filmography. Here too we notice a conscious and extremely mature approach to a young story about young people. A light and deep story at the same time. An extremely personal story that through the director’s innovative gaze immediately takes on universal connotations. At the Diagonale’22.
The camera is constantly static. The characters are often backlit and we cannot see the whole flat itself. We can only get a vague idea of it every time the frame changes. The stories and dialogues between the protagonists and the director are the absolute protagonists. In A Millionaire’s Melancholy there is no need for anything else.
Frau Maria and the Liquidation of Stastny Fabrics makes the few characters who appear on screen, their stories, the slowly emptying rooms and the hundreds of rolls of coloured fabrics its trademarks. And tender Mrs. Maria acts as precious witness of what has been.