Johannes Rosenberger

The simple staple bread has become a branded product with an increasing number of varieties and providers. The film provides authentic impressions in today’s world of bread. We encounter small craft bakers as well as corporate CEOs whose professional work is our daily bread and ask the question: how do you see the future of our bread? And: what are we actually eating?

Director Thomas Heise picks up the biographical pieces left by his family, and composes an epic picture of four generations of his family, of a country, of a century.

This cinematic portrait shows the Austrian filmmaker Ulrich Seidl at work. The much-discussed ‘Seidl method’ is conveyed here vividly and directly: The camera watches over Seidl’s shoulder during the filming of his new production IM KELLER, and observes him at the rehearsals for his latest theatre production ‘Böse Buben / Fiese Männer’. The film paints the picture of a fascinating and exceptional artist using a combination of extensive interviews and excerpts from earlier works.

In Comparison revisits issues explored in the director's 2007 two channel installation Comparison Via a Third. Spanning continents and cultures, the film focuses on the brick in its many contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi industrialized moldings in India, to industrial production lines in Germany, France, Austria and Switzerland. Through its notable structure and its captivating rhythms, In Comparison presents various methods of labor production, allowing for an assessment that changes with every layer and goes well beyond a simple binary divide.

Documentary about the life of avant-garde filmmaker Maya Deren, who led the independent film movement of the 1940s.

In 1942 Anna and Wasyl Major were sent from Galicia to Lungau and forced to work on farms. Only after the war's end brother and sister heard from each other. Both are staying in Austria and hard work on other people's farms still shapes their life.

"Ceija Stojka" is a portrait of 64-year-old Austrian Rom Ceija Stojka, who, after a nomadic childhood, settled in Vienna many years ago. In the recent past, Ceija Stojka’s fame as an author, painter and singer has spread outside Austria. She represents the opening of Rom and Sinti society to the world of the "gadje." This process and all the difficulties it involves is unique in the history of the Rom in Central Europe. The central theme of this documentary is the fusion of two extremely different worlds in this fascinating woman. Beginning with Ceija Stojka’s present life, her biography is reconstructed in this film portrait. At the same time, a critical chronology of images portrays the common associations with the "gypsy," examples of which pervade Ceija Stojka’s life. A comprehensive consideration of the gypsy’s image, from romanticized projections to images of exclusion, discrimination and destruction, and finally the present ambivalent relationship between Rom and non-Rom.

Based on Samuel R. Delany’s short novel ‘Aye, and Gomorrah...’, where the sci-fi premise of radiation-resistant state-neutered space travellers allows the author to explore androgyny, sexual identity, etc. Hammel uses Delany’s story to create a spookily beautiful world where asexual bodies live in the contradiction between their unarousable loneliness and desire for intimacy and contact.

Based on Samuel R. Delany’s short novel ‘Aye, and Gomorrah...’, where the sci-fi premise of radiation-resistant state-neutered space travellers allows the author to explore androgyny, sexual identity, etc. Hammel uses Delany’s story to create a spookily beautiful world where asexual bodies live in the contradiction between their unarousable loneliness and desire for intimacy and contact.

Experimental documentary about nationalism, militarism and about coming to terms with the past. Material, exposed exactly 50 years after Hitler's presence on the 'Heldenplatz' - the place of heroes, during a demonstration against Mister Waldheim (Originally part of Subcutan)

"Masculinity" is the subject of this film. Harald, the protagonist, fails in his blind attempt to prove his masculinity at Maria's expense. The Stone Age is over. Is it really?

A portrait of Vienna in the "year of rememberance" 1988 (50 years after the "Anschluss"). A cinematographic approach to the history and obsessions of this town. A glance under the skin of everyday life, searching for the open sores in the soul of this would-be metropolis. The objects found: The old lady, listening through the wall. A peepshow for catholics. The making of a planned child. A song for Kurt Waldheim. Fishes from the Danube crashing against kitchenwalls. The torture of playing the zither, etc. A personal statement on my hometown, a work close to the traditions of Austrian experimental film. A coughing up and spitting out. (J.R.)