오스트리아 시골 마을의 열일곱 살 소년 프란츠는 가계를 돕기 위해 빈으로 와 담배 가게에 취직한다. 나치 점령 하의 빈은 폭압과 유대인에 대한 반감으로 불안감이 고조되지만, 담배 가게만은 신문과 담배를 찾는 손님들에게 작은 성지로 남아있다. 댄서인 아네츠카와 사랑에 빠진 프란츠는 담배가게의 단골 중 저명한 정신분석가 지그문트 프로이트에게 상담을 요청하면서 점점 친분을 쌓아나간다. 전운이 짙어가는 중 뚜렷한 정치의식을 가진 담배 가게 주인 오토가 나치에 의해 연행되고, 프란츠와 프로이트는 각자 생존을 위한 선택의 갈림길에 선다. 오스트리아 작가 로버트 시탈러의 동명 소설을 원작으로 한 는 나치 치하의 빈이라는 정치적 무대를 배경으로 전개되는 한 소년의 비극적인 성장기다. 이야기 속의 프로이트는 프란츠의 성장을 돕는 조력자인 동시에 소년에서 남성으로 성장하는 프란츠의 변화를 꿈과 현실, 리비도와 죽음 같은 흐름 안에서 바라보게끔 하는 특정한 컨텍스트로 제시되기도 한다. 프로이트 역을 맡은 의 브루노 간츠의 모습이 반갑다. (박진형/2018년 제23회 부산국제영화제)
Thank you for Bombing accompanies three correspondents to their working place in conflict areas and gives an insight into their daily routine aside from cameras and satellite phones - somewhere between bombing alarm, laundry and Bach flower therapy.
Sylvia (34) has every reason to be proud. On her son and on herself. After all, she raised Ben all by himself, and today the 18-year-old is an all-round successful boy. Ben knows about his conception only as much as that he is a child of pure love. He never knew his father, so he does not miss him either. Sylvia is his mother and closest confidant at the same time. But this trust threatens to break as Sylvia is caught up in her past and Ben has to learn that he is actually the product of a rape. Everything seems to be in question in one fell swoop.
Vienna's high society parties with sex, drugs, alcohol and young models. Hanna von Stezewitz stands in the center of it all. She's young, attractive and rich, head of a corporate group and one of Vienna's most important financers.
Does luck have a use by date? Both thought that at eighty they have experienced everything until, like a bolt of lightening, Rosa and Bruno come together and immediately fall head over heels. There are two obstacles to their happiness though: Bruno’s marriage, which has long been routine, and Rosa’s illness; she has cancer and not long left to live. Despite the difficult circumstances, the two decide to breakaway – Bruno from his relationship and Rosa from her retirement home. Against the advice of carers, doctors and relatives, the pair moves into a new apartment together. ANFANG 80 shows with a great deal of unequivocal humour how insensitively and sometimes desperately overburdened society reacts to love among the elderly.
For months, the corrupt Viennese policeman Albert Schuh unsuccessfully investigates the murder case of his former friend and colleague. Then he gets a young, overambitious partner. The German colleague Thorsten Richter is a set of correctness and ambition, and thus the exact opposite of the Viennese, the "benefits" from the criminal scene is quite open. Since the two can not stand, the dispute does not stay out. The Austrian stops the German an unnecessary undercover job on an erotic chat line and determined alone on.
