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- 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.
- 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.
- 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.
- An old photograph forms the starting point of my exploration. The picture must have been taken towards the end of the 19th century, at a time when film had just been invented and pictures were only starting to move. Its origins date back to a phase of transition between the still and the moving image. By creating a wide variety of duplications of a single image I am trying to translate it into the temporal and contemporary nature of film.
- Fragments of several (mostly) silent films are shown. They're guided by quotes from, among others, Plato and Sappho and a soundtrack.
- 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 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.
- A subversive and experimental film from director Kurt Kren.
- 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.
- 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.
- 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.
- 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.
- 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?
- 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)
- 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)
- 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.
- This three-minute film was far more akin to the American-style "happening" in that the content was not particularly extreme. It was built up from items such as broken bicycle parts, a nude model, pieces of furniture, and these elements were then obscured or transformed by having a layer of paint thrown on them.
- '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)
- 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.
- 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.
- Maya suddenly wakes up in the middle of the night and finds herself at "Am Himmel" in Vienna. She is not dead, she is in Vienna. It is night. She checks out her body. What is she missing?
- 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 sunbathing woman has a phantasmagoric vision of ecstasy, derived from various found footage sources.
- 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)
- 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 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.
- 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 screen becomes a vibrating membrane; colors, shapes, beats and sounds a psychedelic whirlpool. A short, fast-paced audiovisual ode to the hypnotic power of color and vertigo.
- An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird."
- On a weekend in June 1983, in what was deemed a "country outing," an impressive number of Berlin-based artists went to a small German village to give the local residents a taste of Berlin's avant-garde art scene. Back in Berlin, the footage was manipulated to produce an "experimental examination."
- 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.
- Unknowingly, a copy shop employee sets off a bizarre series of events with utterly unforeseen consequences.
- A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production. (Peter Tscherkassky)
- The opening trailer for the Viennale 2009.
- 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).
- 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)
- Kren offers a more visually descriptive development of a Muehl action. The images have been chosen to follow a more dramatic sequence, probably because the action itself contained a wide range of images and materials.
- "Under the Underground" guides us through the improvised spaces of Janka Industries, an underground cellar vault and creative microcosm of Vienna's subculture. Voodoo Jürgens and Bands such as Petra und der Wolf and Tankris practice and perform here in the midst of a bizarre hodge-podge of electronic scrap. A music film and an ultimate underground homage that cinematically captures the magic of the site. It would be best not to try some things presented in this film at home, for one thing, if you attach any importance to sparing your body the risk of being slammed by a high voltage bolt of electricity. Fact is there are unsecure electrical experiments being conducted in a surreal parallel universe set up by the Viennese musician, technician and sound engineer Chris Janka in rambling catacombs somewhere beneath Vienna's seventh district - as if this was at all normal. Janka is incessantly building and tinkering with his equipment and he seems to derive pure joy from his inventions and test assemblies, even if their purpose is not always clear to outsiders. At the end of the 1980s, squatters and punk musicians shared this place with packs of rats that came and went. In the meantime, it is occupied by amplifiers, drum sets, retro reel-to-reel tape recorders and mixing boards for professional recording sessions. Director Angela Christlieb portrays the site and its master of ceremonies using dynamic, densely processed images that interweave musical interludes by such uncompromising niche acts as Blueblut, Schapka, Petra und der Wolf and MCRhine, while including an appearance by the host's brother, Ali Janka - member of the artist group Gelitin. Christlieb presents the Janka brothers as holy fools engaged in absurd artist practices while they narrate how, over the course of decades, the cellar passageways became a studio. They recall how absurd but also romantically punk those early years felt, back when they lived here without electricity, money or running water - and always including a pinch of mortal danger. But in truth what really threatens this underground paradise comes from outside - and outside the non-commercial logic at work here. (Stefan Grissemann)
- 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.
- The cinematographic essay about voyeurism, surveillance and the now voluntary urge to be watched.