Oasis by Jannis Lenz is a desperately honest feature film, at times brutal and ruthless, which often hits us like a punch in the stomach. A feature film which, however, at the same time, also offers moments of pure poetry. At the 2026 Venice Film Festival, Orizzonti section.
Eklipse by Manuel Wetscher has proved to be an exceptionally insightful and mature film. The personal becomes universal. The truth hits us like a punch in the stomach, especially when we are forced to grow up before time. At the 2026 Venice Film Festival, Orizzonti section.
In My Notes on Mars, Lili Horvát doesn’t want to provide definitive answers at all costs. On the contrary, the viewers have the precious opportunity to draw their own conclusions whilst being mesmerised by images of great visual and communicative power. Opening film of the Giornate degli Autori section at the 2026 Venice Film Festival.
At the Locarno Film Festival, in the prestigious setting of Piazza Grande, Felix Randau’s fourth feature film, I is Another, was presented to the audience. This Austrian co-production explores the enigmatic historical figure of Felix Kersten, the hero-impostor divided between altruism and opportunism.
With Gentle Monster, Marie Kreutzer returns to the Cannes Film Festival with a double female portrait of great directorial impact, destined to alienate rather than surprise the audience; Léa Seydoux gives an outstanding performance as a mother forced to come to terms with the terrible truth she has just discovered about her husband.
All Buildings are beautiful has the great ability to give new life and dignity to a place now considered ‘useless’. Nobody goes into the old university building anymore. And yet, it still seems to have so much to tell. Preventing its demolition now seems, however, to be impossible. At the Vienna Shorts 2026.
From Something To Nothing is an enormous collage comprising over 3,000 photographs of tree bark, moss and organic details collected before the forest was logged. An experimental audiovisual patchwork with no dialogue, in which the audience is immersed and with which the viewer can still form a connection, knowing full well that the raw material, once living, has now vanished. At the Vienna Shorts 2026.
Sandra Wollner’s third feature film, selected for Un Certain Regard, is a striking reminder that the memories of our loved ones will live on in our world forever; poetic, unforgettable and boldly directed, Everytime is simply the best the Cannes Film Festival had to offer.
The Race is an extremely engaging and captivating documentary, particularly because it shows us ‘what we don’t see’. And so, we immediately feel like privileged observers of a world of which very few people truly know every detail.
We have to survive is a truly monumental project which, through evocative images – in which the landscapes, often captured from above, immediately captivate us with their majesty – also offers us some interesting food for thought.