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1-12 of 12
- 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.
- Handmade utopias - a filmic search for the worldwide phenomenon of the micronation movement. Do-it-yourself states that have distanced themselves from the economic and political mainstreaming of globalization. A road movie covering land, water and the wildest realms of the imagination. Simultaneously creative documentary and pulsating cultural portrait, the film traces a new "unplugged" generation - their motives, their anxieties and their dreams. A film that shows how this generation realizes its escapist fantasies in new economic and political forms and how they collide with oppressive everyday realities.
- An atmospheric psycho thriller told from the perspective of a young woman who is the apparent victim of a conspiracy, and who later becomes herself a perpetrator.
- Every seventh person in the world is a Chinese farmer. Between 2002 and 2005 the filmmakers Elke Groen and Ina Ivanceaneau carried out numerous interviews in three Chinese villages documenting everyday life - without any censorship whatsoever. At the same time the inhabitants of the villages shot their own short films about their surroundings, their hopes and their dreams - short films that have become part of "Every Seventh Person". The result is an exceptional documentary film that provides insight into life in China away from the urban and industrial centres - a life between socialism and market economy in which the villages become the testing grounds for democracy and self-determination.
- When a writer investigates Austria through the images presented by postcards, the landscapes around Erzberg and Salzburg become something between a dream and a nightmare.
- In one of those suburbs where everything is made to look safe, the silhouette of a woman wanders around clicking her heels. A young man is about to experience a strange night, half way between fantasy and reality. Two sexual intercourses, firstly with oneself and then with someone else, another one... possibly an alter ego, his alter ego conjured up to put an end to loneliness... Caught between his own double and an evanescent woman, he is confronted with two opposite ways out of his isolation. This duality will push him in a deceptive triangular love affair, which becomes impossible with this unbalanced equation as the third person is relentlessly missing.
- Matthias Müller's short is based on the poems to childhood by famed Austrian lyrical aertist Ernst Jandl who tried to write these poems in a language used by children, including nursery rhymes and prayers. Müller uses found footage and amateur films from his own childhood to create a visual equivalent to these poems. (M.M).
- 'Schein Sein' is based on Morton Feldman's music piece 'Madame Press Died Last Week at Ninety', performed by the Vienna based Klangforum under it's conductor Beat Furrer. The film plays with the levels of optic and aural perception, with the deception of eyes and ears and the tension between two-dimensional reproduction and three-dimensional spatial recreation.
- Using Khmer Rouge Tribunal as a starting point, Susanne Brandstätter takes a deep look into the lives of young Cambodians on the brink of adulthood. As the trial accusing a perpetrator of the Pol Pot regime progresses, it becomes a catalyst for a new generation of Cambodians questioning their parents, families and neighbors about the inhumanities their nation has suffered. Brandstätter accompanies three families on two different continents - two Cambodian families and an immigrated Cambodian family in Paris, France - recognizing that the truth is only to be found among those who survived and that the past can best be questioned by those who are about to build a future.
- This film transforms a piece of music into a visual and examines the role of humans in this performance of sound and light. After a prologue in which composer and conductor Beat Furrer is shown obtaining and arranging a score by Schumann, its performance is the film's actual theme: As the notes pass through the picture, the musicians of the Klangforum Wien ensemble appear and disappear according to their acoustic contribution. The result is a choreography of sound, the music's transience and vastness is turned into a ballet of bodies which, somewhere between presence and absence, commemorates the instability of being as a dialectic micro-spectacle.