DIE FLIEGE
In Die Fliege, a short, amusing little story magically comes to life on the movie screen, immediately capturing our attention, keeping us in suspense and, of course, entertaining us.
Category: 60s
MOSS ON THE STONES
Somewhere between the Nouvelle Vague and Post-Neorealism, Georg Lhotsky’s Moss on the Stones stands as a truly groundbreaking film in Austrian film history. Recently restored by Filmarchiv Austria and presented to the audience on the new channel Filmarchiv On.
18/68 VENECIA KAPUTT
Venice. One of the most beautiful cities in the world. One of the many homelands of our beloved seventh art. The venue for the oldest film festival in the world. It is no coincidence that Kurt Kren chose Venice as the protagonist of 18/68 Venecia Kaputt. Every predefined rule is turned upside down. Cinema and negation of cinema.
WEDDING NIGHT IN PARADISE
Wedding Night in Paradise is an enjoyable musical comedy in which a series of misunderstandings and misadventures enrich a well-written script and a staging whose main goal is to highlight the excellent cast.
CHARLEY’S AUNT
Charley’s Aunt, based on the play of the same name by Brandon Thomas and starring a great Peter Alexander, is the classic musical comedy of errors, but nonetheless genuine and capable of making one smile, although not proving to be hilarious.
DIE ABENTEUER DES GRAFEN BOBBY
Produced by the legendary Viennese production company Sascha-Film, a pioneer of silent films and the first sound films made in Austria, the amusing musical comedy Die Abenteuer des Grafen Bobby also confirms the successful harmony between a series of actors with theatrical and musical backgrounds.
ADORABLE JULIA
Film adaptation of a play, Adorable Julia has the good-natured and calm irony of the W.S. Maugham novel on which it is based, with sharp dialogues and a subtle social criticism that is surprisingly topical. At times predictable, it nevertheless manages to give iconic moments, thanks to the voice and above all the thoughts of the protagonist, a very convincing Lili Palmer. In competition at the Cannes Film Festival 1962.
ARNULF RAINER
Peter Kubelka’s Arnulf Rainer is one of the few metric films in film history. In just under seven minutes, we see the screen now white, now black, while, in the meantime, silence and white noise expertly alternate. Meanwhile, what we see and perceive is something unique.
THE VIKING WHO BECAME A BIGAMIST
The Viking who became a Bigamist is a generally enjoyable feature film that undoubtedly entertains, thanks also to the – often deliberately exaggerated – contrast between Italian and German culture. Yet, precisely because of an excessively weak screenplay, it is often predictable and banal.
FLIPPER
In Flipper it is the cold, deafening and disturbing noise of the marbles within the game that takes centre stage. The woman speaks, but her words are inaudible. The man and the woman are close, but suddenly unable to move, since they seem to be tied in a sort of straitjacket. They both make faces and everything, for a moment, takes a deliberately grotesque turn.