Come una Pupilla al Variare della Luce, the new exhibition by director Constanze Ruhm at the Belvedere21 in Vienna, is a visual and auditory experience spanning fifty years of feminism. A long and often painful journey that has not yet come to an end and still has a long way to go. The exhibition runs until August 27, 2023.
The films Die Schreckentage von Wien by Rudi Mayer and October by Sergei Eisenstein deal with two similar topics, but seem, at the same time, completely antithetical in their directorial approaches. While in Mayer’s film, in fact, the July Revolt basically shows us how a protest caused significant damage to the city, Eisenstein’s film focuses on the needs of the citizens.
The Breitenseer Lichtspiele is the oldest cinema in Vienna still in operation and one of the oldest cinemas in the world, still showing films for viewers of all ages. Founded in 1905 – ten years after the invention of cinema by the Lumière brothers – this small cinema has often risked closure, but still continues its activity today.
The exhibition ‘Special Effects – Die Interaktive Ausstellung für Filmfans’ (‘Special Effects – The Interactive Exhibition for Film Fans’) – in Vienna from the 18th of October 2019 to the 5th of July 2020 – does not only aim to make people see and experience various film techniques up close, but above all to make visitors of all ages critical and active spectators.
In Carol Reed’s The Third Man, Vienna is represented with a double face that can be associated now with Holly Martins, now with Harry Lime. Martins’ Vienna is a “superficial” Vienna, where culture is ostentatious and where strangers, welcomed with cordiality, are constantly looked upon with suspicion. On the other hand, Lime’s Vienna is an underground Vienna, populated more by shadows than by light. The Vienna of lawlessness, of crime, the lesser-known Vienna, but, nevertheless, a more alive and pulsating Vienna.