Klemens Hufnagl

Beate is an ambitious executive working at Europa, a mysterious corporation looking to expand into the Balkans region. Seemingly promoting philanthropy and investment in underdeveloped areas, Europa actually needs to buy off lands from locals in a remote valley in Southern Albania using Beate as the main negotiator for the ambiguous mission. But things don’t go as planned when she is challenged by Jetnor, a stubborn and spiritual farmer who refuses to leave the land of his ancestors.

How can cinema engage with complicity in crimes against humanity, extreme violence and state terror without conniving in it? De Facto finds answers to this question via two actors, a precisely compiled collage of texts and a deliberately reduced setting.

광고회사를 경영하며 두 아이를 키우고 있는 얀과 니나 부부는 주말을 맞아 숲 속에 있는 별장에서 휴가를 즐기기로 한다. 얀이 잠시 외출한 사이 별장에 낯선 이들이 침입했다 도주하는 사건이 발생하고, 니나와 가족들은 불안감에 시달린다.

The expectations of Elias are high. He is not only an excellent student, but also the son of the richest farmer in the Zillertal. Soon he will take over the farm. But the more desperately he tries to fulfill his intended role, the more he feels that he really wants to live a completely different life.

In a remote, abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars to his native Nigeria. As he pursues his lonely day-to-day activities with wondrous serenity, past, present and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of everlasting resources.

괴물이 나타난다는 전설이 있는 숲, '데블스 덴'. 마을 사람들은 절대로 그 숲에 가까이하려 들지 않는다. 숲속의 숨겨진 괴물의 정체는 '미나', 바로 여러 해 전 실종된 소녀였다. ‘미나’는 어쩐 이유에서인지 흉측한 얼굴을 하고 있으며, 언젠가부터인가 사람을 잡아먹게 되었다. 어느 날, 숲에 한 납치범이 본인이 납치한 눈이 보이지 않는 소년 '알렉스'를 데리고 몸을 숨기기 위해 들어온다. 그리고 숲속에서 몇 년 전쯤 버려진 것으로 보이는 기이한 빈 집을 발견하는데... 한편, ‘미나’ 역시 이들의 존재를 알아채게 되고 납치범을 먹어 치운다. 그러나 눈이 멀어 자신을 볼 수 없는 ‘알렉스’를 ‘미나’는 잡아먹지 않고, ‘알렉스’는 ‘미나’가 괴물인지 알 수가 없다. ‘알렉스’는 ‘미나’로부터 무사할 수 있을까?, 미나는 왜 괴물이 된 것일까?

괴물이 나타난다는 전설이 있는 숲, '데블스 덴'. 마을 사람들은 절대로 그 숲에 가까이하려 들지 않는다. 숲속의 숨겨진 괴물의 정체는 '미나', 바로 여러 해 전 실종된 소녀였다. ‘미나’는 어쩐 이유에서인지 흉측한 얼굴을 하고 있으며, 언젠가부터인가 사람을 잡아먹게 되었다. 어느 날, 숲에 한 납치범이 본인이 납치한 눈이 보이지 않는 소년 '알렉스'를 데리고 몸을 숨기기 위해 들어온다. 그리고 숲속에서 몇 년 전쯤 버려진 것으로 보이는 기이한 빈 집을 발견하는데... 한편, ‘미나’ 역시 이들의 존재를 알아채게 되고 납치범을 먹어 치운다. 그러나 눈이 멀어 자신을 볼 수 없는 ‘알렉스’를 ‘미나’는 잡아먹지 않고, ‘알렉스’는 ‘미나’가 괴물인지 알 수가 없다. ‘알렉스’는 ‘미나’로부터 무사할 수 있을까?, 미나는 왜 괴물이 된 것일까?

A personal film about grief and farewell, about serenity and arrival as well as reunion and retrieval.

오스트리아의 거리에서 일하는 조이. 악덕 포주에게 매인 그녀는 나이지리아에 있는 가족과 어린 딸을 부양해야 한다. 세상 물정 모르는 신참 때문에 약해질 순 없다.

There have been countless tributes made to the Lumière Brothers´ Workers Leaving the Factory since it was first exhibited in 1895, but few have been as technically ambitious, aesthetically assaultive or conceptually compelling as Sebastian Brameshuber´s In, Over & Out.

Soft boys by day, kings by night. The film follows a group of young Bulgarian Roma who come to Vienna looking for freedom and a quick buck. They sell their bodies as if that's all they had. What comforts them, so far from home, is the feeling of being together. But the nights are long and unpredictable.

A drama centered on an 11-year-old Chechnyan refugee living in Vienna whose life is thrown into disarray when a friend of his deceased father materializes.

Documentary about young people in a small town in Austria.

A lonely young monster with deadly black eyes encounters a kidnapped and abused young boy whose eyes have been sewn shut.

Communal property, free sexuality, dissolution of the nuclear family - these were the basic principles of the Friedrichshof, the largest commune in Europe founded by the Viennese Actionist Otto Muehl in the 1970's. Because of these principles Paul-Julien Robert, who was born into this commune, for a long time didn't know who was his biological father.

The rising city of Shanghai is a place of contradictions. In the heat of the battle for being the most progressive city of the world, many are left behind. No construction without deconstruction. The movie shows the social, economic and visual antagonisms of this vibrant city in a rhythmic and playful way. Shanghai is the engine that drives this experimental and musical documentary to a visual collision course.

The rising city of Shanghai is a place of contradictions. In the heat of the battle for being the most progressive city of the world, many are left behind. No construction without deconstruction. The movie shows the social, economic and visual antagonisms of this vibrant city in a rhythmic and playful way. Shanghai is the engine that drives this experimental and musical documentary to a visual collision course.

The rising city of Shanghai is a place of contradictions. In the heat of the battle for being the most progressive city of the world, many are left behind. No construction without deconstruction. The movie shows the social, economic and visual antagonisms of this vibrant city in a rhythmic and playful way. Shanghai is the engine that drives this experimental and musical documentary to a visual collision course.