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poster

71

49

7.1

/3107/

71

/136/

64

/126/

4.0

/22261/

69

/7/

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.

poster

57

31

6.0

/627/

51

/29/

54

/33/

3.2

/3364/

The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. 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.

poster

58

30

6.0

/543/

54

/28/

57

/30/

3.2

/3223/

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.

poster

38

17

3.8

/338/

32

/15/

39

/19/

2.3

/1820/

In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.

poster

?

5.9

/9/

70

/1/

Aino is celebrating her bachelorette party. Toni, who was once briefly with Aino, works at the gas station. Lolly has moved away, but always has sex with Aino's mother whenever she returns to her hometown.

poster

?

90

/3/

Shot in a single take on 70mm, Arena is the latest film by the ever-inventive Austrian artist Björn Kämmerer and a tribute to the unexpected aesthetic pleasures we risk overlooking.

poster

68

?

6.6

/30/

70

/1/

70

/1/

3.5

/214/

There are no taboos in the grotesque underground realm of Pfaffenbichler’s 2551 movies, which cross all borders, especially those of good taste. Reviving the original punk spirit of true independent filmmaking, Pfaffenbichler and his ingenious collaborators have concocted another marvel of no-budget ingenuity.

poster

?

8.1

/22/

The Life of Sean DeLear is a vibrantly multi-faceted, buoyantly propulsive documentary portrait of this irresistibly charismatic one-off — sketched in celebratory but commendably clear-eyed style by writer-director Markus Zizenbacher. There can be very few people better qualified to do justice to this particular tale. Zizenbacher befriended DeLear — born Anthony Robertson in Simi Valley, an obscure California backwater — after the latter relocated to Vienna in the early 2010s.

poster

?

4.5

/52/

90

/2/

Elena Wolff submerges into the turbulent world of the young, up-and-coming art scene of Linz. In a series of episodes, Asche tells of three couples and an outsider, of alpha males and muses, of loneliness, and the urge for self-realization. In doing so, this pop satire of the art world exercises a high-volume criticism of both patriarchy and the cultural scene—including unexpected vendettas and bizarre encounters.

poster

?

100

/1/

Hans Scheugl could have started a new life with his friend John in the USA 50 years ago - but he didn't. He imagines a life that never happened. The letter A, blurred against a pink background. This is the first letter on a journey that does not go alphabetically to Z, even though many letters appear - not just alphabetical, but written correspondence.

poster

?

10

/1/

Broadcast on the Austrian Television (ORF) in June 1972, TV & VT-Works comprises a series of ‘tele-actions’ in which a cigar-smoking newsreader is periodically interrupted by public interventions raising the question “Is this Art?”. Disrupting the smooth flow of information and thus the illusion of comprehending the world from one’s living room, these actions interrogate TV temporality to examine the mechanisms of production and spectatorship. A work of culture jamming avant la lettre.

poster

?

3.8

/10/

Sitting on her bed, Kurdwin Ayub wears a babydoll and hugs a blanket in her arms. She speaks to the camera as if addressing her ex-boyfriend. How to react to his eyes staring at us?

poster

?

4.9

/20/

40

/1/

Landscape and cinema form an amalgam here, being both interior spaces of thought and feeling and projected images of an outside.

poster

?

7.5

/95/

68

/6/

82

/6/

Inside a museum, nowadays. A diorama represents two young soldiers in the trenches. All of a sudden, we are thrown into the diorama: the immobile soldiers come to life, there is terror on their faces – the camera dances around them – explosions, chaos, fog: everything flies about in the air. With every gunshot, they shudder and curl up

poster

66

?

7.1

/81/

53

/6/

70

/4/

3.5

/298/

Somalia. A policewoman sits in her parked car. After a while, she gets out, puts on her service cap, and enters the prison. There, decisive hours have dawned for young Farah. Organizational machinery starts up around him. Farah is examined by a doctor, instructed by the bailiff, and looked after by an imam. Farah is waiting for his parents to visit. “How are you?” is the question everyone asks him that day. Each time, “Good” is his concise answer. Only when the policewoman takes Farah out of town the next morning does the unspeakable become a painful reality.

poster

?

7.9

/18/

Russian-born director Aleksey Lapin travels back to his relatives’ home village near the Ukrainian border, where he himself used to spend every summer. The film crew introduce themselves at a specially organized musical event, claiming that they have come to cast a historical film that is to be set in the village. What follows is a charming, semi-fictional documentary by and with the village community.

poster

57

?

6.5

/77/

43

/3/

52

/4/

3.4

/315/

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.

?

20

/1/

Two actors in the roles of a soccer team's coach and assistant coach watch an "important" game. In many ways, "Wisla" is a highly successful excercise in the art of properly placed marks of elision.

?

20

/1/

The telephone wakes its uncounted brothers and sisters. The lady in the bathtub has two faces. Shall I help a beautiful man when forks and teeth fight in the skies?

?

20

/1/

24 hours in the life of a person who comes home from work, spends and has spent the night with friends. The day, and the work, begin with murmur and rumor.

?

20

/1/

"Franziska is a hand-made blow-up - single Super 8 frames are fixed into windows cut in 16 mm black and white film. Space and time are involved with each other in a fascinating manner and in different frameworks and abrasive processes of movement."

poster

?

10

/1/

10

/2/

A few hours in the life of empress Sisi; a summer night at Gödöllö. A game with operetta and melodrama; a grotesque with much colour, music, dancing, and bloodshed.

?

55

/2/

The day came to a lonesome night / It lasted for such a short time / Does it stop / Love lasts or it doesn't / "Tu veux ou tu veux pas"

poster

?

20

/1/

The accomplishments of four handicapped ten-year-olds are recorded on camera. Their determination to do and create is obvious in each action.

poster

?

7.1

/16/

20

/1/

50

/2/

We accompany the 90-year-old filmmaker Alexander Hammid on a stroll through New York, wandering with him through the outer and inner landscapes of his world. The observation of details takes on a meditative character.

?

10

/1/

Void, elegiac images - a story and loving and dying: A journey entrusts itself to the viewer's ability to associate and creates a collision of melancholy, softly red-filtered vacation images with an (apparently) totally unrelated story.

poster

?

5.2

/8/

10

/1/

10

/1/

The film "Into the Emptiness" describes an example of the ritual game of "serfdom" in a "studio for bizarre eroticism". This game comprises a masochistic phantasy in which theguest assumes the role of an obedient slave and servant while the woman employed by the "studio" plays a domina who rules and punishes without mercy.

?

10

/1/

Shifting between a suburban hostelry, domestic harmony and the idyllic setting of the Prater funfair, Johannes Holzhausen's documentation is a respectful and sympathetic observation of the long-term relationship between two people leading an unspectacular existence on the edge of society. A retrospective view of an unhappy life from the perspective of happier times.

poster

?

73

/3/

Anton and Franz live together since the beginnings of 20th century. They talk about their difficulties of being vampires, since their first bite in 1938. Their inconsistent arguments recall those of normal human beings. And history repeat itself. As if that were not enough, they also doesn`t really like each other much.

poster

?

5.5

/10/

63

/3/

Experimental filmmaker Selma Doborac presents a radical and uncompromising essay on the impossibility of depicting the atrocities of war through insightful subtitles and meditative footage of abandoned structures that belong to the present as well as to the past.

?

N/A

?

Composed of 28 static-camera scenes from everyday (occupied)-Tibetan life, each picture (without narration) a "narrative" lasting several minutes, these 28 views explore the contradictions between the traditional way of life and modernism's obvious invasion of Tibet.

?

N/A

?

N/A

poster

?

In this wondrously captivating experiment, Albert Sackl creates a quasi-stereoscopic effect by moving a Bolex camera on a rail from left to right, continuously capturing two frames on each side. The way in which these come together in a small perspectival point makes gestures seem to quiver, bodies tremble, and buildings shake. Silently, not only the two different angles but also the individuals in the frame find their way towards each other.

poster

?

Billy Roisz taps into our sensual pleasures with this experimental interpretation of Hieronymus Bosch’s iconic triptych The Garden of Earthly Delights. The largely abstract landscape, stemming from both analogue equipment and ‘deep dreaming’ – a generative AI technique based on neural networks – ranges from paradisiacal to hellish. Combined with the chirping, ticking and pounding soundtrack, in which field recordings have also been incorporated, the temptation is almost impossible to resist.

?

In her cinematic encounter with the painter and graphic designer Florentina Pakosta, Christiana Perschon shows a person seeking freedom who turns the artistic exploration of her face into a resistance against her own transience and patriarchal conditions.

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Dropping Furniture shows the destruction of a living space. The film is conceived as a symbolic image for the loss of an existence.

poster

?

Bergmanesque ghosts appear at the bedside of Edward Weki, a 75-year-old Sudanese man suffering from the final stage of Parkinson’s: Alma, the nurse of Ingmar Bergman’s film Persona, and a female version of Death from his The Seventh Seal help the old man recover lost memories of his life on the island of Farö.

poster

?

N/A

poster

?

FUDDY DUDDY uses the motif of the grid to blow it to pieces. Being occupied with structural film, I repeatedly draw 'frame plans', using grid structures to precisely record the succession of individual images. To me, this sometimes seems like a search for structures in an apparently chaotic world. The medium of film fulfils the need for orientation. (Siegfried A. Fruhauf)

?

A harmonious, liberated image of sexuality emerges from the hips, breasts, thighs and arms, sometimes blurred, sometimes glistening with liquid running over the skin, and the exciting forms that open up between them. This is what making love with, in front of, and behind the camera could look like. What’s more, the camera and its image begin to dissolve with the bodies and merge into abstract forms that inspire imaginations. It’s a bit like staring into a lava lamp and suddenly realizing that you yourself are the lava.

poster

?

Vasof demonstrates her unbelievable pleasure in experimentation and simultaneously shares her delight in demonstrating the illusion enabled solely through the medium of cinema. She proceeds similarly in four vivid, separetly titled demonstrative procedures, when everyday objects are turned into mechanical constructions. In the end, reality is back again.

poster

?

"Stranger Than Paradise," vaguely associatively linked to Jim Jarmusch's wintery Eighties road movie, is a genuinely film-choreographed work: a hybrid, subtly futuristic chamber play for eight people and an investigative camera. Set in sunken moods and deceptive images, this dance film is an elegy that marks the transition from one species to the next. "Stranger Than Paradise" is a reflection of the systematic expansion of the human and animalistic into the mechanical and sometimes their hybrid existence. The body is obsolescent: it is still needed but the preparations for its abolition are in progress.

poster

?

"ROTOЯ | Sonic Body" by artist collective NO1 is a physically intense perception cinema and phenomenological study. At visual and acoustic levels, the video confronts the fundamental categories of movement, time, and space.

poster

?

Salton Sea was the largest inland lake in California. It was also an atomic bomb test zone.

poster

?

In Nauruan, Anubumin means »night«—and darkness is what the fourth joint film by Zanny Begg and Oliver Ressler begins with. The small and inconspicuous island of Nauru with close to 10,000 inhabitants lies in the Pacific at a great distance to the mainland. But Nauru is a tragic place steeped in history that has been overwritten by numerous narratives. The film addresses these different narratives, starting with the early exploitation of the island and its calcite and phosphate deposits by the colonial powers in the 19th century. After the golden 1970s, when the »Birdshit island« was flush with money, the phosphate was completely mined and the island state soon became insolvent. Since then, Nauru has turned into a gloomy place: 80% of the area is uninhabitable; the attempt to tap new sources of income led to the wide-scale practice of money laundering.

poster

?

Every encounter with an image, every interaction searches for its own form. She is the other gaze is a collaboration with five female visual artists of an older generation who have been part of the Viennese art scene since the 1970s and engaged in the women's movement. In dialogue with the filmmaker Renate Bertlmann, Linda Christanell, Lore Heuermann, Karin Mack and Margot Pilz share their early works and artistic practices. They remember how their self-determination evolved between artistic ambitions, economic constraints, adaptation and resistance to the prevailing patriarchal social structures. In their role as feminist pioneers, the protagonists are a great influence on the contemporary art scene and the self-understanding of younger artists today. With their voices and narratives, they become collaborators passing on feminist thinking and artistic experiences.

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