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- ELFRIEDE JELINEK: "Language Unleashed" Child prodigy, scandal writer, traitor of the fatherland, theatre fury, feminist, model lover, communist, pessimist, language terrorist, rebel, enfant terrible, defiler of the nest, brilliant, vulnerable artist, Nobel Prize winner.
- Footage from The Entity (1982) is edited into an abstract nightmare.
- A man with a ape mask is searching for a boy with a hessian hood in a maze of depravity, a pandemonium of our nightmares and darkest desires.
- Film ist. consists almost entirely of excerpts from various scientific films. This footage shows the flight of pigeons, intelligence test performed on apes, upside-down worlds and stereoscopic vision, hurricanes and effect of shock waves. How glass breaks, how small children walk and a Mercedes crashing into a brick wall in slow motion.
- Beatrix is home alone. Most of the time. In a house that she does not own. A house in which she lives only temporarily.
- A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography.
- Unknowingly, a copy shop employee sets off a bizarre series of events with utterly unforeseen consequences.
- The stars in the night's sky. Pinpricks of light against the darkness excerpted from films beginning at cinema's dawn and continuing to this present day in a project that is planned to be expanded yearly.
- Documentary about the life of avant-garde filmmaker Maya Deren, who led the independent film movement of the 1940s.
- ILLUSIONS and MIRRORS is about the futile attempt of chasing a shadow that wanders through the dunes of an empty beach. When it finally comes to an encounter in a deserted house, the young woman experienced a disturbing surprise.
- For over a decade, toxic waste has been dumped illegally on the coastline of Somalia. The earthquake and tsunami in 2004 damaged the toxic containers and spilled waste, which caused the spread of diseases. Many people left their villages but some stayed and lived with the consequences.
- A young man interviews people on the street. He asks them what is important to them, in order to discover something important about himself, but he can't find anything. A young woman, after several failed attempts, finally succeeds in finding some kind of happiness in her life, something that might be called love.
- Arnold's original material is a piece of found footage from the 1950s; 18 seconds long and very typical for the period. A quiet take: a living room, a woman in an armchair. Her husband opens the door, kisses her, then moves out of the picture accompanied by a disturbing pan, his wife follows him. In Arnold's film the sequence takes 16 minutes. Cadre by cadre, it becomes an exiting tango of movements. But "Pièce Touchée" is more than just a matter of forms. The reflections, distortions, and delays it displays challenge Hollywood's stable system of space and time.
- An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird."
- It centers on three Jordanian women who barely survived the violence inflicted on them by men, listening to them speak with the opaque logic of trauma.
- Bits of found film and different types of animation illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy's secret headquarters.
- The heroine of the title grows up. Slights, dance school, a cinema of glances, of tender moments, of trivial pop songs. A cinema which takes time, makes observations and which continuously finds or invents opposite picture sequences for loneliness and breaking free. (Christian Cargnelli)
- The film FORST bridges reality, activism and fantasy. FORST is a documentary with fictitious elements about a mysterious group of outcasts in the forest. This 50-minute film was awarded the "best short documentary prize" at the Graz Diagonale film festival. FORST is a portrait of a forest in the middle of Europe that harbors a community of banished people, set beyond urban life and civilization - a stranded world. In FORST, the outcasts proclaim their own truth and tell the story of their empowerment. For slowly they become aware of their identities as political refugees and they begin drawing liberation plans. FORST is unsettling and leaves thousands of questions unanswered. It documents a struggle at the front line of hardened opinions, the struggle of who defines reality. The filmmakers' view confronts the audience's view by being provocative, insolent and belligerent. (Amon Brandt)
- 18 years after Kurt Kren produced his third film, he shot his masterpiece 37/78: Tree Again (1978). 18 years after I created my third darkroom film, I embarked on Train Again. This film is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard.
- How can cinema engage with complicity in crimes against humanity? DE FACTO finds answers to this question in a meticulously directed play of two actors, a precisely compiled film script and a deliberately reduced setting.
- A landscape in which everything moves is afflicted with a figure which is in itself static, but which moves - a kind of mechanic man? In Mécanomagie both the borders of perception and (natural) laws are infringed so that something new may emerge: nature as a boundless state of ecstasy! (Peter Illetschko)
- Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions (Artforum, Nov. 1980)
- 1965 action of Vienna Actionist artist Günter Brus shot and edited by Kurt Kren. Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect. In other words, the site of the study (the film) is moving in time and must be analyzed in a framework which can consider its temporality. To that end, structuralist film theory is dependent on a new kind of sign, first proposed by the Prague linguistic circle, dubbed the ostensive sign.
- In marketing and the retail sector, data analytics is widely used to profile and micro-target consumers and to predict behaviour. The ultimate goal, apparently, is for humans to be able to outsource all decision-making to machine intelligence. What is at stake within the political realm?
- A sunbathing woman has a phantasmagoric vision of ecstasy, derived from various found footage sources.
- 'Washed up' presents a portrait of people who spend their lives on the banks of the river Danube or on the river itself. (Robert Buchschwenter)
- A man rescues a boy and later tries to get him off his back but to little avail, so they end up drifting around a subterranean world, populated by grotesque masked figures. A hundred years after Chaplin filmed his first feature film, The Kid, Norbert Pfaffenbichler offers an experimental punk-style interpretation, which the filmmaker himself has defined as a dystopian slapstick film.
- In a room where time seems to have slowed down for a moment, a mother rests on a couch while a baby sleeps and the other daughter draws and asks for attention, until she is swallowed by the couch.
- From the exit of the Lumière ' s factory in Lyon the workers come out in two diagonals to the left and to the right.
- The earlier films of Valie Export, one feels, were motivated by the author's desire and need to investigate her own subjectivity, with the audience as a necessary part of the transference and the polemic. Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... (Joana Kiernan)
- A woman stands alone at the railing of a passenger liner and gazes into the blue. She will remember for us an arrival in New York, the walk of a young couple through Chinatown, the house boats in Shanghai and the excited children who gather round the visitor with the obscure picture machine. Beneath the pictures the sounds of distant lands can be heard and, in parallel, a montage of various memories and people unfolds. People who at some time either left or arrived in Vienna involuntarily. (Christa Blümlinger)
- Tower House is an experimental documentary about the house of the same name built in Tokyo by Takamitsu Azuma in 1966. Tower House was built on a 20-square-meter plot of land and from the moment of its creation was regarded as a symbol of living in the center of a modern metropolis.
- The title of Yilins short film, Xiao Baobei/Little Precious, was taken from a popular Chinese song that his protagonist uses as a ring tone. This is a little story full of fine nuances: Xiao Bao, a young man, has come to Beijing. He was motivated not so much by a desire for social advance and personal success as a wish to earn a little money, enough to satisfy his modest wants, namely a roof over his head, food and drink, and occasional amusement.
- Mickey Rooney and Judy Garland perform a hellish courtship in a nightmare of the American dream, created by manipulating old film.
- The protagonist, a man in his early 30s, is primarily interested in one thing: rap music. Family always comes second. After his wife leaves him overnight, he can no longer ignore his sons. Although the emotional distance seems irreconcilable, he increasingly gains authority in his paternal role--that is, until mother Conny suddenly returns. Papa is touchingly close to the characters, supported by a camera that reacts instead of directs.
- Artist Liam Gillick hasn't seen them. Director John Waters has no idea where they are. Filmmaker Tony Conrad has his theories, but he's not saying. But whoever you ask, the fact remains, the four members of the Austrian artist group, Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither, and Tobias Urban) have disappeared. So Salvatore Viviano, artist, art dealer, and occasional collaborator in Gelitin performances, sets off on a cinematic search for the funniest boy group in the world. With an imposing microphone in hand, he questions artists, gallerists and curators about the group's possible whereabouts. This is a celebration of a multimedia practice oozing in humour, spontaneity, child-like naiveté and blatant sexuality. From performances and documentations of happenings to the iconic series such as Mona Lisa and Falling Sculptures, the show will once again invite the visitors to participate in this journey in order to enjoy art from a whole new perspective. This film pokes fun at how art is consumed in a conservative manner, forcing the viewer to engage in a new and exciting fashion.
- Sunset Boulevard is the attempt to simultaneously picture the two big, contradictory myths of U.S. America: the myth of unlimited individualism ("lonesome rider"), and the myth of the "melting pot". All kinds of people are all in the same way, mostly alone, caught in their cars, which also remind us of similar box-like containers such as houses, offices, factories, etc.
- After the sixth great mass extinction, humankind has disappeared from the Earth. But new life awakes and tries to understand - and then it discovers the film history of humanity.
- Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.
- Marie Kreutzer's film avoids stereotypes of teenagers. Instead of proceeding from the assumption that having problems is simply part of being 14, the protagonists are shown in the context of their everyday lives. The camera follows Theres, remaining close to her body, her gestures and the objects of her attention. (Maya McKechneay)
- An attempt to transform a Roman Western into a Greek tragedy.
- Fragments of several (mostly) silent films are shown. They're guided by quotes from, among others, Plato and Sappho and a soundtrack.
- The third part of the internationally award-winning MeTube short film series. This time the intergalactic music nerds August and Elfi conquer the opera stage and orchestrate their final adventure in an opulent manner.