Year: 1997

funny-games-1997-haneke-recensione-review-kritik

FUNNY GAMES

Funny Games (Michael Haneke, 1997) is not a simple attack on the upper-class world. In Funny Games, in fact, the social discourse is present, but is somehow marginalised. What is carried out here, in fact, is first and foremost a sophisticated metalinguistic experiment, in which we witness a careful reflection on the staging of violence and on the power of cinema to forge reality at will, in order to awaken the most disparate emotions in the viewer.

speak-easy-1997-mirjam-unger-recensione

SPEAK EASY

In Speak Easy everyone talks to someone on the phone. Yet this could even be considered a film about incommunicability. Every teenager has his or her own language that is often incomprehensible to adults and, at the same time, every conversation is “filtered” through the telephone.

the-bosom-friend-1997-der-busenfreund-seidl-recensione

THE BOSOM FRIEND

In The Bosom Friend Ulrich Seidl has once again given us a character we will not easily forget. A character who almost seems to belong to a world apart and who – according to some of the director’s own statements – after having renounced all forms of earning a living or social relationships, may also have found freedom in his own way.

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THE UNFISH

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.

single-bells-1997-schwarzenberger-review

SINGLE BELLS

Although it presents quite a few problems, Single Bells – directed by Xaver Schwarzenberger in 1997 and co-produced by Austria and Germany – skilfully avoids all the rhetoric and cheap feel-goodism into which situations of this kind can easily fall. And it also does so without being afraid to “play dirty “.