The Blood Countess takes us by the hand on a journey where anything can happen. And through decidedly surreal characters, witty and hilarious dialogue, and “bloody” and wonderfully disturbing moments, it also pays sincere homage to Vienna. At the Berlinale 2026, Berlinale Special Gala section.
Somewhere in Texas…a Star to be is an often ruthless, but also extremely tender and dreamy comedy, made so also by a strong fantasy component.
Woodwalkers undoubtedly has good intentions (as well as great ambition). Here, in fact, through a fantasy story in which there is no lack of adrenalin and good feelings, the discourse aims first and foremost to make the young audience aware of an important issue, while also taking on rather classical connotations.
It is not a film with many pretensions, Help, I shrunk my Parents. Not even as far as the various script twists are concerned. The story unfolds in an often predictable way, albeit with good dynamics, and the young audience seems to be happy with it.
Help, I shrunk my Teacher is a film of international scope that is clearly inspired by contemporary US entertainment cinema and also aims very much at an extensive distribution abroad. Yet, despite this, we cannot fail to notice an almost television-like approach that, together with sometimes excessively contrived special effects, makes the whole thing easily forgettable.
The Unfish is a decidedly original feature film as far as Austrian cinema is concerned. Director Robert Dornhelm, for his part, was clearly interested in what was being made abroad, showing particular curiosity in 1980s fantasy films.
Help, I Shrunk My Friends is clearly inspired by the now cult film Honey, I Shrunk the Kids. But if those nostalgic for that film – as well as for the glorious 1980s – are hoping to re-experience the same feelings they felt when watching Joe Johnston’s film, their expectations will inevitably be disappointed.
The School of magical Animals entertains, but not too much, enthralls, but not too much. And, as a result, it is in danger of being forgotten shortly after its theatrical release.
In Virgin Woods, the director focuses on the power of the images. And while, at the opening of the short film, the image of the young protagonist playing at holding her breath underwater, lying on the bed of a small river, immediately reminds us of the shakespearian Ophelia painted by John Everett Millais, the magnificence of the landscape, its rich vegetation and its waterways reminds us of Andrei Tarkovsky’s cinema and, specifically, of his Ivan’s Childhood.
The main problem of a film like Ghosthunters – On icy Trails, directed by Tobi Baumann, is precisely this: the fact that, as we approach the finale, it becomes pathetic, with overly unnatural dialogues that complete a script that, after many, many preambles, finds a so simple solution as to be dangerously hasty and decidedly slapdash.