Film director: Jessica Hausner

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CLUB ZERO

Club Zero is a mercilessly sincere feature film, extremely rigorous in its mise-en-scene, which finds its ideal mood in a sharp irony. The image of society depicted here has the sharp, vivid colours of a world in which no half-measures are allowed. Just like in the cinema of Hausner, who has been minutely analysing every single aspect of this very world for years now. In competition at the Cannes Film Festival 2023.

HOTEL

Hotel sees its greatest strength in a direction made up of static and symmetrical frame compositions, with colours turning mainly to green or red. A power of images achieved thanks to the contribution of the cinematographer Martin Gschlacht, a long-time collaborator of Hausner and co-founder of the production company Coop99.

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ZUR PERSON: FOCUS ON JESSICA HAUSNER AT THE DIAGONALE ’20

With the Zur Person series, the Diagonale’20 turns its focus on the director Jessica Hausner and her widely acclaimed film oeuvre. Beginning from her most recent film Little Joe, which was the only Austrian entry represented in the competition at the Cannes film festival, the Diagonale’20 will show a comprehensive retrospective of Hausner’s oeuvre including the rediscovery of her early works as a film student.

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LITTLE JOE

Little Joe, the sixth feature film by director Jessica Hausner, already in competition at the Cannes Film Festival 2019 (where the protagonist Emily Beecham won the Best Actress Award), is a deliberately ambiguous work, which does not aim to give precise answers to the questions raised and which makes this ambiguity its greatest strength. At the Viennale 2019.

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FLORA

With Flora, Jessica Hausner – similarly to what her colleague Barbara Albert did a couple of years later with Sunspots – began her journey into the world of the seventh art with an interesting coming-of-age, in which some basic features of what was to become her particular directorial approach could already be recognised.

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AMOUR FOU

It is a very interesting evolutionary path, that of director Jessica Hausner, one of the most popular Austrian film directors today. After a career beginning in which the world of adolescence and self-discovery was the focus of her interest, following a brief incursion into horror cinema, her discourse gradually shifted to social issues and to all the”weirdness” that characterises the society in which we live. This is the case with Lourdes, as well as Amour Fou, the first costume drama by the Viennese director.