Johannes Schmelzer-Ziringer

Daniela is unsure about what to do next and where to live. Mia is finishing a master’s degree that she spontaneously started. Along with Natascha, another friend thinking of moving to Vienna, they wander around and talk.

Wunderkind, scandalous author, traitor to the fatherland, fury of the theater, feminist, fashion-lover, communist, pessimist, language terrorist, rebel, enfant terrible, nest fouler, brilliant, vulnerable artist, Nobel laureate. This film about Elfriede Jelinek, who in 2004 became the first Austrian author to receive the Nobel Prize for Literature, focuses on her artistic approach to language. The montage of archive material with voiceovers and interviews, some of them recently recorded, is told from Jelinek’s point of view.

A bittersweet relationship film about love, work and the daily struggle for happiness.

Elli es una androide y vive con un hombre al que llama padre. Es capaz de rememorar vacaciones y cualquier otra cosa que él programe para que ella recuerde. Durante el día se dejan llevar por el verano y por la noche él la lleva a la cama. Diseñada para asemejarse a uno de sus recuerdos, realmente parece estar viva, a veces incluso parece soñar, y sin embargo no deja de ser un robot, un contenedor para unos recuerdos que lo son todo para él y nada para ella. Esta es la historia de una máquina y de los fantasmas que todos llevamos en nuestro interior.

A self-built screen amid an expansive green landscape. On it dance silhouettes of the surrounding trees and bushes. A natural cinema – without a darkened cinema hall, without artificial light and without film. From various camera positions, Viktoria Schmid portrays her screen, installed in the sculpture park of the Djerassi Resident Artists Program, as a moving image within a moving image.

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.

It seems to be an intermediate world of peace and quiet, the garden and country house where four people look back on testing lives. And forward, to the time they have left. On the one hand, there is regret – on the other, satisfaction. In a way, they are looking forward to the future – but at the same time, a longing for death regularly arises. And who is actually behind the camera? Are we watching actors or real people? Is there really any difference? Garten is full of contradictions – it is not until the credits roll that we realise who these people from very different backgrounds are.

Summer 1989, East Germany. Adam works as a tailor, Evelyn as a waitress. They are planning a vacation together when Evelyn finds out that Adam is cheating on her and decides to leave for the holiday on her own.

The anti-psychiatric Socialist Patients' Collective (SPK) was founded in Heidelberg in 1970 and attributed individual suffering to society’s capitalist structures. It began as a self-organised experiment in group therapy led by doctor Wolfgang Huber with psychiatric patients, featuring Hegel readings and individual agitation, before subsequently radicalizing, which ended in criminal proceedings against its members, some of whom went underground with the Red Army Faction.

Tradition and modernity, contrasting ways of life: the master of archival footage has assembled an impressive collection. His serene narration takes us inside the private lives of migrant families in different eras, from the beginnings of film to the present day. This new film from one of the great avant-garde directors is also a powerful tribute to a neglected genre.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

Alemania /// Marko es aprendiz en un gran complejo agrícola. No tiene muchos amigos y lo consideran taciturno y solitario. Pero cuando aparece Jacob, Marko lentamente comienza a salir de su aislamiento. Transportando el grano u ocupándose de los terneros, ambos hombres se van conociendo. La tensión entre ellos aumenta y deciden hacer una escapada a Berlín que les abrirá las puertas a nuevas fronteras.