Marie Kreutzer

En la Navidad de 1877, Isabel de Austria (Sissi), celebra su 40º cumpleaños. Primera dama de Austria, mujer del emperador Francisco José I, no tiene derecho a expresarse y debe mantenerse hermosa y joven para siempre en su papel de emperatriz. Para satisfacer estas expectativas, adopta un estricto régimen de ayuno, ejercicios, peluquería y medición diaria de su cintura. Asfixiada por dichas convenciones, y con un apetito voraz de saber y de vida, Isabel se rebela cada vez más contra esta imagen.

En la Navidad de 1877, Isabel de Austria (Sissi), celebra su 40º cumpleaños. Primera dama de Austria, mujer del emperador Francisco José I, no tiene derecho a expresarse y debe mantenerse hermosa y joven para siempre en su papel de emperatriz. Para satisfacer estas expectativas, adopta un estricto régimen de ayuno, ejercicios, peluquería y medición diaria de su cintura. Asfixiada por dichas convenciones, y con un apetito voraz de saber y de vida, Isabel se rebela cada vez más contra esta imagen.

Flooding in Krumau am Kamp: three infant bodies , two girls and a boy , are found in the basement of the Trummler family 's farm , which has long been uninhabited . The children were suffocated immediately after birth and buried on the spot . A dark reputation precedes the Trummelrs ; the word "cursed" is used more than once : after the daughter 's disappearance without a trace. The villagers have never quite forgotten the tragedy , and so willOld wounds opened up when Marion Reiter from the St. Pölten homicide squad took up the investigation . She is assisted by the inexperienced but persistent local police officer Ulli Herzog . As the two delve deeper into the Trummels ' dark family secrets . The two of them don't seem to be bothered by the macabre history at first , but the shadows of the past soon catch up with them too .

Flooding in Krumau am Kamp: three infant bodies , two girls and a boy , are found in the basement of the Trummler family 's farm , which has long been uninhabited . The children were suffocated immediately after birth and buried on the spot . A dark reputation precedes the Trummelrs ; the word "cursed" is used more than once : after the daughter 's disappearance without a trace. The villagers have never quite forgotten the tragedy , and so willOld wounds opened up when Marion Reiter from the St. Pölten homicide squad took up the investigation . She is assisted by the inexperienced but persistent local police officer Ulli Herzog . As the two delve deeper into the Trummels ' dark family secrets . The two of them don't seem to be bothered by the macabre history at first , but the shadows of the past soon catch up with them too .

Una pareja que se enfrenta a problemas de fertilidad ve cómo su matrimonio se pone a prueba en unas vacaciones en un centro turístico de Cerdeña.

Una pareja que se enfrenta a problemas de fertilidad ve cómo su matrimonio se pone a prueba en unas vacaciones en un centro turístico de Cerdeña.

Aunque aún no ha cumplido los 30, Lola (Valerie Pachner) maneja su vida con la misma eficiencia que emplea para optimizar su rendimiento como consultora financiera. Nadie conoce la existencia de su hermana Conny (Pia Hierzegger), ni tampoco el largo historial que relaciona a su familia con la enfermedad mental. Todo cambia cuando un trágico evento relacionado con Conny obliga Lola a reencontrarse con su pasado, destapando una serie de secretos que creía haber dejado atrás y que provocan que, poco a poco, vaya perdiendo la cordura y el contacto con la realidad

Aunque aún no ha cumplido los 30, Lola (Valerie Pachner) maneja su vida con la misma eficiencia que emplea para optimizar su rendimiento como consultora financiera. Nadie conoce la existencia de su hermana Conny (Pia Hierzegger), ni tampoco el largo historial que relaciona a su familia con la enfermedad mental. Todo cambia cuando un trágico evento relacionado con Conny obliga Lola a reencontrarse con su pasado, destapando una serie de secretos que creía haber dejado atrás y que provocan que, poco a poco, vaya perdiendo la cordura y el contacto con la realidad

Hubert and Helga are separated. Hubert has not yet told her about it in order to spare his heart-broken mother. On her 80th birthday he finally wants to tell the truth. The feast takes its course, until at the end all are exhausted, hurt, drunk and desperate and even do not know exactly what they really want. And then, at the right moment, Hubert takes the floor and - lies.

Three couples in Vienna have children at around the same time. They're all in their mid-30s, successful, cool and live in a popular part of town. As idealistic as they are materialistic, they grow tomatoes on the balcony, drink locally roasted coffee and expensive cocktails and would never buy an electronic device sporting a half-eaten apple. And they're absolutely certain that you can have children without becoming bourgeois. But the reality tells a different story. Between career and kindergarten, Apple and alternative lifestyles, the satire plays cleverly with hipster clichés and mercilessly points up the gap between the old self-image and the new bourgeoisie.

Three couples in Vienna have children at around the same time. They're all in their mid-30s, successful, cool and live in a popular part of town. As idealistic as they are materialistic, they grow tomatoes on the balcony, drink locally roasted coffee and expensive cocktails and would never buy an electronic device sporting a half-eaten apple. And they're absolutely certain that you can have children without becoming bourgeois. But the reality tells a different story. Between career and kindergarten, Apple and alternative lifestyles, the satire plays cleverly with hipster clichés and mercilessly points up the gap between the old self-image and the new bourgeoisie.

John Gruber is in his mid thirties, an egocentric, living life in the fast lane and sparing no expense. But all of a sudden he is thrown off track by a cancer diagnosis and by the person who unwillingly delivers the news: Sarah, a DJane from Berlin, who is not his type at all. Feelings just aren’t Gruber’s cup of tea and now, without having asked for them, he has more than ever before…

John Gruber is in his mid thirties, an egocentric, living life in the fast lane and sparing no expense. But all of a sudden he is thrown off track by a cancer diagnosis and by the person who unwillingly delivers the news: Sarah, a DJane from Berlin, who is not his type at all. Feelings just aren’t Gruber’s cup of tea and now, without having asked for them, he has more than ever before…

Teens Linda and Eta are inseparable friends, though they have plenty of disagreements, but one horrific argument has unexpected consequences.

A partir de la muerte del padre, cuatro hermanos muy distintos se reúnen después de mucho tiempo sin verse (incluso sin saber de la existencia de uno de ellos) en las afueras de Viena. Un fin de semana de luto en el campo se convierte, de forma inevitable, en un ambiente donde la tensión familiar crece hasta el límite, mientras esos seres intentar lidiar con la herencia que recibieron. Por su parte, el padre, ahora ausente, cobrará vida no sólo en la presencia fantasmal que todavía los acecha, sino también a través de los flashbacks que nos llevan a un pasado extraño; señalando la convivencia infantil en una comunidad hippie donde las drogas y el sexo libre no eran algo exótico, y de la cual todos los jóvenes escaparon en cuanto tuvieron oportunidad. (extraído de BAFICI.gov.ar) (FILMAFFINITY)

A partir de la muerte del padre, cuatro hermanos muy distintos se reúnen después de mucho tiempo sin verse (incluso sin saber de la existencia de uno de ellos) en las afueras de Viena. Un fin de semana de luto en el campo se convierte, de forma inevitable, en un ambiente donde la tensión familiar crece hasta el límite, mientras esos seres intentar lidiar con la herencia que recibieron. Por su parte, el padre, ahora ausente, cobrará vida no sólo en la presencia fantasmal que todavía los acecha, sino también a través de los flashbacks que nos llevan a un pasado extraño; señalando la convivencia infantil en una comunidad hippie donde las drogas y el sexo libre no eran algo exótico, y de la cual todos los jóvenes escaparon en cuanto tuvieron oportunidad. (extraído de BAFICI.gov.ar) (FILMAFFINITY)

Iris, a 28-year-old studentin a big city, recently left by her boyfriend and too poor to pay her rent, begins to work for a strange old man. He wants Iris to precisely describe the trivial belongings of a dead woman, packed in white boxes, to keep the memory of the woman alive. Iris is disgusted and fascinated at the same time; reflecting on an invisible person's traces, she slowly becomes aware of her own wounds.

Iris, a 28-year-old studentin a big city, recently left by her boyfriend and too poor to pay her rent, begins to work for a strange old man. He wants Iris to precisely describe the trivial belongings of a dead woman, packed in white boxes, to keep the memory of the woman alive. Iris is disgusted and fascinated at the same time; reflecting on an invisible person's traces, she slowly becomes aware of her own wounds.

Cuando era joven, Ruza dejó Belgrado y emigró a Suiza con la esperanza de emprender allí una nueva vida. 25 años después, todo parece indicar que ha cumplido sus objetivos: es dueña de un comedor en Zurich que regenta con mano firme y buenos resultados económicos. Ruza está muy apegada a su rutina diaria, estructurada meticulosamente, pero su ordenado mundo da un vuelco cuando entra en escena Anna, una joven de veintidós años procedente de Sarajevo. Ruza se siente amenazada por la conducta impulsiva de la joven, aunque también experimenta el magnetismo de su gran energía vital. Poco a poco va creciendo la amistad entre estas dos mujeres que, sin embargo, no consiguen salvar la doble barrera que las separa: el temor que siente Ruza a la hora de abrirse por completo a los demás y un secreto inconfesable de Ana.

Marie Kreutzer's film avoids stereotypes of teenagers. Instead of proceeding from the assumption that having problems is simply part of being 14, the protagonists are shown in the context of their everyday lives. The camera follows Theres, remaining close to her body, her gestures and the objects of her attention. (Maya McKechneay)

Marie Kreutzer's film avoids stereotypes of teenagers. Instead of proceeding from the assumption that having problems is simply part of being 14, the protagonists are shown in the context of their everyday lives. The camera follows Theres, remaining close to her body, her gestures and the objects of her attention. (Maya McKechneay)