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1-31 of 31
- The life of a fictional actress and the paintings of Edward Hopper illustrate 30 years of American history.
- Fragments of several (mostly) silent films are shown. They're guided by quotes from, among others, Plato and Sappho and a soundtrack.
- A blunt view into America's soul, found somewhere between plasma TVs and food stamps.
- In the film, couples, whose love is put to a special test, give us insight into their lives. One partner of each couple is not originally from Europe and the lovers find themselves confronted with immigration law and its impact. The director combines very different facets into an exciting, very moving and strongly expressive documentary mosaic. A compelling, filmic plea for love without borders.
- A documentary about modern and creative forms of non-violent protest and civil disobedience.
- The story of two men, a successful theater-actor and an aging, yet retired circus-artist coming from life in Italy. Uncle and Nephew who have hardly ever seen each other spending all of a sudden a great amount of time together.
- A film woven around the idea that between early cinema and avant-garde film exists a connection.
- A look at avant-garde filmmaker Marie Menken.
- Final destination shopping spree: Global Shopping Village shows shopping center developers at work. We get to know their strategies and follow them into the intricate networks of international assets and corrupt politics. But their actions are not without consequences. At three representative locations in Austria, Germany and Croatia critics and industry insiders guide us through the multiple effects: we visit a city that has lost its function, see the blossoming of boom and bubble, and experience how resistance gradually begins to form. This Austrian documentary shows that the real estate industry does not only have an impact on the global financial system, but that it also dramatically changes our cities and our living environment.
- It is only the second time that Indonesians can vote for their own president. Can the power of a small elite really be overthrown by the power of many, or is real democracy just an ideal?
- Based on the portrait of the Mulberry and Grand Street junction, NYC in 1998, the film examines the search for a corner of the world to call our own.
- Sasha Pirker and Lotte Schreiber's camera sits on its stand. It records, in black and white, the details and interiors of a building. It draws games of lights and shadows, perspectives for the eye, convergence lines and points of concentration. Most importantly, the camera is a reminder of Walter Benjamin's essential assessment: a city is to be visited using not only sight but also touch.
- The view is focused on a painting, the sound is silent. The screen is doubled: as a site of projection and as the site of images that the camera quietly observes. A portrait of a woman, unknown at first. An appreciation of art on two levels.
- Guilty Until Proven Innocent is a portrait of a group of women. They make their appearance in a flare of light - there are seven. The camera records them in medium close-up, as torsos from the waist up, seen through a fence. They stand quietly, close together, looking into the camera. They do not relate to one another but solely to the camera. At first glance what they appear to have in common is their advanced age. The shared years of the seven women, the wire mesh of the fence intersecting the image and the line-up of their bodies constitute an arrangement that creates a homogenous surface, sustained even when a cut replaces one of the women with Friedl vom Gröller herself. At all events, their facial expressions heighten this sense, uniformly relaxed and without betraying specific emotions or thoughts - bordering a fine line between smiling and being severe. This self-conscious blankness of the woman behind the wire fence raises questions in regard to the film title: Guilty Until Proven Innocent - Guilty of what? Why this exclusion? And then Friedl vom Gröller turns and looks at the women standing to her right. One of them smiles at her. The staging is ruptured and after vom Gröller turns her gaze back to the camera, the image goes black. Setting and rhythm change in the wake of this turning point as close-ups reveal every blemish of the individual faces. It - the camera - is now a member of the group of women. Fenced in together with them, it shakily scans their faces with curiosity. Like a magnifying lens it researches and searches, perhaps for traces of guilt and innocence. And in the meantime it documents traces of living.
- 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.
- Science-docu-fiction, or a documentary popular science film - that's what the creators described it. The action begins on a spaceship controlled by womens - cartographers from a civilization unknown to us. They are designed to study the planets encountered in space. At some point they reach our Solar System and their sight falls on Earth. Researchers are delving into the nine hundred million years of our planet's development history. Through the eyes of cosmic cartographers, MappaMundi takes its viewer on a greatly accelerated voyage through 950 million years of development on Earth, 150.000 years of human migration and 15.000 years of human cartography. The film visualises the continuous changes taking place in our world, change that is imperceptible over a single human lifetime. MappaMundi is a film about the image of the world that we have repeatedly re-drawn for thousands of years. With over hundred world maps from the past 15.000 years, the development of our view of the world from its beginnings to the present day is analysed and illustrated in all its diversity. MappaMundi shows the world we inhabit as the result of a process of continuous, radical change, a process of incessant transformation - that is both unstoppable and fascinating.
- Schulden G.m.b.H. documents the world of professions such as bailiffs, private investigators, debt collectors, debt counselors and more. They change new forms of poverty into deposits, installment plans, interests and evictions.
- In a living room, here is an old age couple on a sofa having a chat. A woman photographs their picture from other side of the couple, and another camera exists that takes all of them into a single frame. This moment is reproduced by shooting from the inside of woman's still picture to the opposite film camera. While movie captures daily events physically through the moving images, the old camera and the picture of the elderly couple put their hours into the emotional moment, where time stands still.
- Rustem is an online poker player: poker is both his passion and his job.