Ferry Radax

Twenty-eight well-known filmmakers living and working in Austria were invited by WIENER MOZARTJAHR 2006, to produce associative miniatures on Mozart. Requirement: they had to be one-minute artistic short films. The directors come from a whole range of different backgrounds, ranging from animated, experimental and short film to documentaries and feature films. The result is a multi-facetted sampler of diverse formal and contextual positions with regard to Mozart’s person and his influence on today’s society, art and culture. The contributions run the gamut from experimental-conceptual statements through socio-critical and documentary observations to pithy short feature films.

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

Why does Fred look like Charly who looks like Gernot who looks like Udo who looks like Erwin who looks like Leopold who resembles Ferdinand?

The lord of the castle is found shot. His sister takes care of the appropriate wake, a firearm-happy guest from Spain romps around in the walls. An Italian listens to records of Bartók. The police doesn't appear.

The lord of the castle is found shot. His sister takes care of the appropriate wake, a firearm-happy guest from Spain romps around in the walls. An Italian listens to records of Bartók. The police doesn't appear.

This portrait of the great Austrian writer combines a brilliant monologue delivered by Thomas Bernhard and the artful film work of Ferry Radax. The location chosen for three summer days is a park in Hamburg full of huge old trees. While sitting on a white bench, Bernhard talks about dark childhood memories, his youth, and his struggles with writing. A striking element is his high praise of obstacles as "material for the brain."

This portrait of the great Austrian writer combines a brilliant monologue delivered by Thomas Bernhard and the artful film work of Ferry Radax. The location chosen for three summer days is a park in Hamburg full of huge old trees. While sitting on a white bench, Bernhard talks about dark childhood memories, his youth, and his struggles with writing. A striking element is his high praise of obstacles as "material for the brain."

This portrait of the great Austrian writer combines a brilliant monologue delivered by Thomas Bernhard and the artful film work of Ferry Radax. The location chosen for three summer days is a park in Hamburg full of huge old trees. While sitting on a white bench, Bernhard talks about dark childhood memories, his youth, and his struggles with writing. A striking element is his high praise of obstacles as "material for the brain."

This portrait of the great Austrian writer combines a brilliant monologue delivered by Thomas Bernhard and the artful film work of Ferry Radax. The location chosen for three summer days is a park in Hamburg full of huge old trees. While sitting on a white bench, Bernhard talks about dark childhood memories, his youth, and his struggles with writing. A striking element is his high praise of obstacles as "material for the brain."

Out of a desire for adventure, a middle-class university student (Mike Sarn) joins a political revolution. Unexpectedly, the women are victorious; they dress in uniforms and proclaim a military dictatorship to be ruled by a senile puppet. All writers are persecuted and tortured. Of course, the public takes the side of the attractive meter maids. Retaliatory strikes are sometimes successful, but the country's top minds are gradually wiped out.

H. C. Artmann transforms himself into some of the characters he invented, who bring his texts to adventurous life.

Five young writers from the 'Forum Stadtpark' in Graz who were little-known back then play bizarre characters from their manuscripts, which often appeared in book form much later.

Interview film with the protagonists of the New German Cinema in 1966.

Interview film with the protagonists of the New German Cinema in 1966.

Interview film with the protagonists of the New German Cinema in 1966.

A young painter loses his lover and rich patron in a mysterious car accident. He searches the scene for clues, finds a gateway and disappears into it before his friend's eyes. What awaits him is a kind of otherworld where, in addition to a host of macabre spirits, his former lover appears. Like all this place's other occupants, she too attempts to eat the only obviously living being around.

A sailor appears at the port of Buenos Aires, and at the same time as a dandy in Fegina, the “Riviera” of Monterosso al Mare (double-role: Konrad Bayer). Through a kind of “inner monologue” both are dependent on one another in a cryptic way. An elegant, cool beauty (Suzanna Hockenjos) becomes bored with the dandy, causing him to suddenly (in order to impress her?) shoot the sun from the sky, which produces a very erotic Eve (Ingrid Schuppan), but gives nothing more to the dandy. Thereupon, he further knocks down the moon, but this spectacle also bores the cool blonde. Incensed about this, the dandy destroys his entire strange world. In doing so, he loses Eve. Grief regarding her death and despair regarding the unwelcoming lady turns the dandy back to a sailor. He returns to the sea.

In his first film work, Kubelka evokes episodes of flirtation, courtship, and break-ups, played out against a series of non-corresponding audio excerpts.

In his first film work, Kubelka evokes episodes of flirtation, courtship, and break-ups, played out against a series of non-corresponding audio excerpts.

In his first film work, Kubelka evokes episodes of flirtation, courtship, and break-ups, played out against a series of non-corresponding audio excerpts.

In his first film work, Kubelka evokes episodes of flirtation, courtship, and break-ups, played out against a series of non-corresponding audio excerpts.

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