A documentary, The most beautiful Place on Earth, which, with an aesthetic that focuses mainly on the essential and which makes long moments of contemplation its trademark, points the finger directly at those who, devoid of any independent thinking, allow themselves to be led by the hand by “experts”, deciding to support one or the other party, depending on what is convenient for them. Just as a group of Orwellian quacking geese would do.
Characterised by a frenetic and intense montage, together with a musical score that increases a constant suspense in the spectator, Wood is made by three filmmakers – Ebba Sinziger, Michaela Kirst and Monica Lazurean-Gorgan – in order to convey three points of view that come together towards a unique conclusion, with the main goal of making the world realise the danger of certain realities.
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.
For the first time, Austria’s two largest film festivals are collaborating contentwise. From October 25 to November 1, the Festival of Austrian Film will present in the Viennale festival cinemas Kollektion Diagonale’20 – “Die Unvollendete” (Diagonale’20 Collection – “The Unfinished”), which includes six feature films and a program comprising eight short films.
The Diagonale 2020 is pleased to present Austria’s most important film awards. After the cancellation of the festival due to Covid-19, the jury screenings took place online. The awards were announced on Tuesday, 30 June, at 7.30 p.m. with a live stream on social media channels and later on the festival website. An ad personam presentation of the awards is planned for autumn 2020.
The mise-en-scene adopted in With God’s Grace does not aim at an excessively marked or elaborate aesthetic, but – in a long journey from Gambia to Italy, arriving, even if only virtually, in Düsseldorf – substantially focuses on the essential, for a successful example of cinema of reality which, through the story of a single character, tells us, in fact, the story of thousands and thousands of people.
This tender little Lonely Together is very reminiscent of the films of the French New Wave. Similarly, the apparently superficial dialogues slowly acquire a complex depth that, combined with a meticulous introspective analysis of the characters, sees the staging of a dramatic moment told in a light, graceful way, with even welcome comic expedients.