In Macondo, many issues are brought into play. If, on the one hand, we see the problem of the integration of Ramasan’s family within Austrian society, then the focus slowly shifts to the personal drama of the young protagonist, the need to belong to something stable and reassuring – as can be, in this case, the family – and the desire to discover the truth about a past about which we still know too little.
In the Bazaar of Sexes, the second documentary by Austro-Iranian director Sudabeh Mortezai (known internationally for the feature film Joy, already awarded at the Venice Film Festival 2018) tells us about a reality known to few, namely that of temporary marriages. But what are, in fact, these temporary marriages?
Looking back over the history of cinema, one cannot fail to notice the large number of Austrian women directors – contemporary and past – who have contributed (and still contribute) to an ever richer and more varied filmography that is indeed little known, but also incredibly diversified and full of surprises.
Joy shows us reality as it is, without sugarcoating anything, and yet is able to play skilfully with the viewer’s emotions even when (not) showing us the many episodes of violence the girls suffer.