*Women (Nico), starting from the figure of the legendary singer, opens up a complex and topical discourse, immediately taking on universal connotations and, at the same time, paying homage to an artist who shaped the history of music (and pop culture) of the last century. At the festival Sotto le Stelle dell’Austria 2023.
In The Body is so resilient, Moana Vonstadl has opted for a minimalist yet incredibly effective mise-en-scène. The figure of Eva has sharp teeth and eyes that yearn for something undefined. She needs to feed herself, to nourish her self, to free herself from the grey world in which she has been imprisoned for a long, long time. At the festival Sotto le Stelle dell’Austria 2023.
Hermann Huber – The Value of Time is an exciting and, sometimes, also moving journey between past and present. A journey into a world that everyone knows, but few have actually experienced first-hand. Tom Dauer, for his part, has opted for a predominantly classical mise-en-scene, in which the words of the protagonist play a central role and accompany us throughout the entire screening.
Extremely complex moral issues bring up secrets and grudges, while at the same time giving rise to merciless revenge. Side Effects and Risks stages all this in a never banal or predictable way (thanks also – and above all – to the play by Stefan Vögel from which it is inspired), proving to be a deep and entertaining film at the same time, which, however, precisely because of the particular directorial approach adopted, would seem more appropriate for television broadcasting.
Moonbound is all in all an enjoyable, colourful and, at times, adrenaline-fuelled feature film for families. A film with an international scope that, however, both in terms of the script and the realisation of the CGI pictures, suffers greatly from the comparison with other animated films made in the meantime all over the world. At the Diagonale’22.
Masking Threshold is the film we do not expect. A film with a hybrid form, which following an initial documentary approach slowly takes on the connotations of a horror film in a crescendo of tension and humour. Johannes Grenzfurthner drew heavily from the modern social media language and, specifically, from YouTube. His Masking Threshold thus becomes, at the same time, a deep, semi-serious reflection on the world we live in and on society. At the Diagonale’22.