With 2551.02 – The Orgy of the Damned, Norbert Pfaffenbichler has further confirmed his talent for playing with new ways of understanding mise-en-scène itself, drawing inspiration from the origins of cinema, but at the same time creating something totally new and personal. At the Diagonale’23.
In its complex simplicity, MappaMundi successfully depicts the history not only of our planet, but also of mankind, even hypothesising a (not) too distant, but practically inevitable future. Can there ever really be a definitive end, however? Bady Minck does not want to formulate any precise theory on the matter.
Copy Shop is present and future. The loss of identity and subjectivity due to modern media. Copy Shop is the loss of all certainty, in a world where we no longer know what is true and what is not.
In re-GEO / rendering reconstructions of desire, Michaela Schwentner has fully captured the quintessence of Georgette Klein, she has given us the opportunity to get to know the artist from an extremely intimate and personal point of view and, through her story, she has dealt with an extremely topical discourse concerning, precisely, women within the society in which we live. At the Diagonale’22.
It immediately presents itself as a good blend of arts, Being and Nothingness. Music and film thus give rise to a completely innovative and unique product. And to this end, director Bady Minck has opted for a quite minimalist approach.
Will there ever be hope of salvation for those living on the margins of society? Norbert Pfaffenbichler seems to have a clear idea about this. But perhaps only love can save us all. And in 2551.01 it does so in a never banal or predictable way, skilfully avoiding any possible rhetoric. Inspired by Charlie Chaplin’s The Kid and presented at Diagonale 2021.
Fast Film. “Almost a film”. So Virgil Widrich wanted to call this precious little work of his. And more than a true declaration of love to film history and, more generally, to the world of the seventh art itself, this short film represents one of the many forms that cinema can assume, thanks to a sophisticated work in which stop motion and computer graphics coexist in harmony.
With an extremely essential mise-en-scène, Thomas Marschall has perfectly succeeded in giving his Ordinary Creatures a surreal and highly alienating character, thanks to figures that are now inexplicably mute and so inexpressive as to seem almost unfriendly, up to scenes with a strong dreamlike atmosphere.
Old photographs, together with scenes filmed directly at concerts dedicated to Maestro Walter Arlen, characterise Walter Arlen’s first Century. And a calm and meditative mood pervades the entire film by Stephanus Domanig.
In This Movie is a Gift, Anja Salomonowitz is not afraid to find new languages, to reinvent and rediscover herself. All this results in a true, feather-light hymn to life, one of the director’s most intimate and personal works. A film that accepts and elaborates on every aspect of life in an intelligent and never predictable way. Including death. At the Viennale 2019.