
HINTERLAND
Hinterland is an expressionist film. A film in which angular sets, cramped streets, sloping buildings, sinister shadows and oblique shots make us experience first-hand one of the most dramatic periods in history and convey anxiety.
Hinterland is an expressionist film. A film in which angular sets, cramped streets, sloping buildings, sinister shadows and oblique shots make us experience first-hand one of the most dramatic periods in history and convey anxiety.
Narcissus and Goldmund is a film that, despite the undoubted mastery of director Stefan Ruzowitzky, despite the high budget employed and a respectable cast, despite visually and symbolically powerful moments, is overall excessively contrived and pretentious.
If Tempo – Oscar-winning director Stefan Ruzowitzky’s first feature film – on the one hand treads the coming-of-age path already dealt with over and over again in Austria, on the other hand, shows a closer look than ever before at what is being realised at the same time in the rest of the world, resulting in a product with an international flavour with many typical features of 1990s mainstream cinema.
Lilly the Witch: The Dragon and the Magic Book – directed by Oscar-winner Stefan Ruzowitzky, as well as the film adaptation of the famous homonymous short story written by Knister – despite its linear development and its good and dynamic direction, is not as incisive as previous similar works.
In Stefan Ruzowitzky’s The Counterfeiters, another chapter of the Second World War is shown with a fine work of subtraction.