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1-16 of 16
- A popular woman who enjoys her nights on the town gets more than she bargained for when a stalker murders a loved one and begins hunting her down.
- The life of a fictional actress and the paintings of Edward Hopper illustrate 30 years of American history.
- "Quod est in speculo ut in subiecto." According to medieval philosophers, being in a subject is an insubstantial way of being that does not exist in itself, this one is in something else. In this short film, the nature of the images is questioned, particularly the one of the reflected corpses in the mirror. What is their nature? How can a mirror with his two-dimensional character transliterate three-dimensional images? The essence of the image, visible on the mirror surface, is a continuous formation in absence of tangible substance. A tribute and at the same time a contestation of J. Cocteau.
- Marta's case is particularly significant because it breaks many stereotypes about gender violence. For one she never suffered physical abuse before the attempted murder and she does not come from modest or marginal family. As she says: 'There is no profile for battered women and it can touch anyone.' She also is a strong woman and a fighter who is not afraid to criticize the ineffectiveness of institutions. For me as a man was also very important to approach the male and try to find out what happens inside a violent man and what leads him to violence. In this sense i found the work of the therapist Harald Burgauner, who is one of the most prestigious specialists in Austria, of particular interest.
- When 12 year old boy Veysel falls in love for the first time he decides to express his feelings by reciting a poem to his beloved in front of the class. But in order to do so he first needs to translate the lyrics into German.
- The film is a reflection on the medieval folk tradition of "benandanti" ("good walkers"), who believed they had special powers to fight witches, ogres and demons threatening harvests and children. Who are the "benandanti" of today and who are the witches and ogres of our times? Can these assigned roles be put into question? The film analyses three stories, trying to recover the sense of truth and the truth of the sense, starting from the relations between individuals and the respect that every statement of the human race deserves.
- Four people sit around a white table with a young woman on it. A hand reaches out from behind the camera to light up a cigarette for the girl, which she briefly examines, smokes, and passes to the people sitting around her. They take turns in smelling and examining it. The girl lies down on the table with her eyes closed-the four people around the table look at her and speak amongst themselves. The girl is the medium for the viewer's projections of the stories and biographies that are imagined about her, setting off a narrative around the film where ideas and associations are mirrored in the gazes of the group.
- Already the title leads one astray: Friedl vom Gröller's film Im Wiener Prater is, namely, not about the amusement park that one normally associates with this name. The spectacle in Friedl vom Gröller's film takes place in a much more basic sense. Right at the start, we see a camera tripod left standing, and instead, the filmmaker has set off - as we soon find out - to track down a woman (the artist Martina L.). Carefully, concealed - with a thoroughly male-coded gaze - she approaches the unsuspecting woman who is out taking a walk. What we are then shown, a close-up of a woman urinating, activates a quasi-childish delight in investigating taboos: Evident here are both a conscious reference to Viennese Actionism and the counterpart to one of Friedl vom Gröller's early films, Boston Steamer (2009), with the artists' group Gelatin, about the process of anal excretion. Yet rather than the close-ups of anatomical details and the associated sexualization, what is actually 'unsettling' about Im Wiener Prater is the gaze forced upon the viewer: this woman looks at us, questioning and self-confidently - now that's pure cinema of attraction.
- The Children of the Noon deals with the universal subject of life.
- Momentaufnahme ("snapshots") means a moment's survey about the present state of the world. If statistical figures don't have faces - in this film they have. Behind the data are the lives of millions and millions on this planet, all true members of humanity. Is this the world we want to live in and hand on to future generations? There is no doubt that things can change...
- The latest film by photographer and filmmaker Friedl vom Gröller is the short portrait of a woman full of secrets. The viewer can observe her but is not given any information about who she might be: a perfect mirror for our own projections.
- DMD KIU LIDT is an anti-music film which follows the Austrian pop-rock band Ja, Panik and their social circle of fellow musicians in Berlin and Vienna. It is a chronicle of a group that centers on the conditions of music-making in a state of prolonged sadness dominated by the shadow of a permanent crisis (of capitalism). The actors - all musicians - play themselves, acting out a consciously absurd drama about art, depression and love.