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- 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.
- Footage from The Entity (1982) is edited into an abstract nightmare.
- 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.
- Beatrix is home alone. Most of the time. In a house that she does not own. A house in which she lives only temporarily.
- 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.
- Documentary about the life of avant-garde filmmaker Maya Deren, who led the independent film movement of the 1940s.
- 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.
- 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.
- 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.
- 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.
- An attempt to transform a Roman Western into a Greek tragedy.
- An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird."
- 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.
- 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.
- 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.
- 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.
- 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)
- Oskar Salomonowitz, the 12-year-old son of filmmakers Anja Salomonowitz and Virgil Widrich, had drawn 206 frames of a flip book when he died in an accident. Using the remaining blank sheets, his father continued drawing the film.
- Mickey Rooney and Judy Garland perform a hellish courtship in a nightmare of the American dream, created by manipulating old film.
- 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.
- Eyes and ears are slightly reduced.
- 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.
- 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.
- As a crossmedia project, connecting film with the online video scene, WANNABE tells the story of a young YouTuber, who builds herself a fictitious world on the internet (www.youtube.com/cocochannel99).
- A sunbathing woman has a phantasmagoric vision of ecstasy, derived from various found footage sources.
- Unknowingly, a copy shop employee sets off a bizarre series of events with utterly unforeseen consequences.
- A subversive and experimental film from director Kurt Kren.
- Young Bolivian Juana gets a job as a sewer in the neighboring country Argentina, wherefore she has to leave her husband and her baby-son. After arriving in Buenos Aires, the promised factory turns out to be a prison. Textile goods for luxury brands are produced under inhumane circumstances: long working days, sexual abuse and no permission to exit the factory. After a series of fatal incidents, she tries to escape from the factory by any means.
- 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)
- 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.
- 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)
- A look at avant-garde filmmaker Marie Menken.
- In breathtaking words, Germán López Rosales from Mexico describes his experience of a human smuggling operation from Laredo, TX to San Antonio. Next to Germán locked up inside the cargo area of a tractor-trailer, 8 of the 39 migrants died.
- 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)
- 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.
- The body and specifically the "woman's body" is often used as a focus for questions of origin, subject-object relations, political resistance and sexuality. Valie Export's notion of "body language" poses an ironic relation to these questions that acknowledges "the end of the body" or at least the final break with the way in which we understand it to be a biological, existential, or metaphysical entity. Export has broken away from any notion of unity - either body, space, or time - into the fragmented world of doubling and difference that is caught in representation.
- The London Film-Makers' Cooperative calls this film the "Eating, Drinking, Pissing and Shiting film".
- Elektro Moskva is an essayistic documentary about the Soviet electronic age and its legacy. The story begins with the inventor of the world's first electronic instrument, Leon Theremin, unveiling the KGB's huge pile of fascinating devices, some of which were musical. They all came into existence as a by-product of a rampant defense industry. Nowadays, those aged and abandoned 'musical coffins', as solidly made as a Kalashnikov, are being recycled and reinterpreted by the post-Soviet generations of musicians, sound collectors and circuit benders. The story of the Soviet synthesizers as an allegory to the everyday life under the Soviet system: nothing works, but you have to make the best out of it. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.
- 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.
- In their fourth collaborative film Zanny Begg (Sydney) and Oliver Ressler (Vienna) focus on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The title "Anubumin" is Nauruan for "night" and symbolises a certain darkness that surrounds the island. The film combines a poetic narration written for the film with conversations carried out with whistleblowers in Australia. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers' farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the "disappearance of people" - housing one of Australia's offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. They uncover a truth the Australian government tries to cover through intimidating people into silence. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live. The people who warden the political and economic refugees of today may well become climate refugees of tomorrow. The night is always darkest before the dawn. (production note) Footage shot on Nauru by anonymous whistleblowers.
- Fragments of several (mostly) silent films are shown. They're guided by quotes from, among others, Plato and Sappho and a soundtrack.
- 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.
- 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.
- 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.