In Oskar & Lilli, problematic visual solutions are accompanied by an excellent characterisation of the protagonists and a welcome fairy-tale touch, the most appropriate solution for a drama where hope never dies and where, sometimes, breaking the rules may indeed turn out to be the best choice one can ever make.
In The Seventh Continent, Michael Haneke’s first feature film, what we observe is the progressive and sudden disintegration of the contemporary bourgeois family, observed and approached in an almost Schnitzlerian style, complete with omnipresent violence that is never really represented before our eyes. A constant theme, this, in Haneke’s rich filmography.
With The three postal Robbers, Prochaska, deliberately targeting an audience of very young people and drawing deeply from past works, wanted to stage a world in which good always triumphs and in which there are no real villains.