Tamas Ujlaki

Four years have passed since Bogdan left the Pichlerhof and Anna remained heartbroken. At first glance, the farm with its "three-women economy" is well there. Neighbor Gerhard builds on a common future with Anna. Then suddenly Bogdan reappears. He has made a career and wants to ask Anna - the woman of his life - to come with him. The encounter surprised both and brings everything out of balance.

Due to the accidental death of Pichler Bauer his wife Ilse, Granny Burgi and especially the youngest daughter Anna are suddenly alone on the mountain farm. Contrary to expectations and traditions, Anna inherits the farm. A well considered decision of the father: For Anna wants to stay mountain farmer, to preserve the inheritance of her father. In contrast to her mother and her uncle. In order to receive her father's farm and to be able to cope with the heavy and exhausting work, Anna hired a Bosnian guest worker, a Muslim, as a servant. They manage to continue the successful business on the farm.

A woman searching for the traces of her mother in herself. Live, re-live.

Lisa is a judge, 44 years opld and divorced. She lives with her 18 year old son Georg. For seven years she has had a weekend relationship with Felix. Suddenly her life takes a drastic turn when she falls for 23 old law trainee Rudi.

Portrait of a great lady based on the real life of Margarete Schütte-Lihotzky, an Austrian architect, who joined the resistance movement against Hitler.

This is the theme of the film: The secret of objects in the huge space and time curve: the not-being-able-to-recognize, the not-being-able-to-grasp, the not-knowing. The curve is presented in the film as a miniature: 24 hours (morning, day, evening, night, morning) condensed into 40 minutes.

Franz West (1909-85) remembers his youth in Vienna: the variety of the Jewish population of the so called Matzah-Island, his commitment to the worker’s movement of the Red Vienna and the rise of Austro-fascism and National Socialism. West’s masterly narration combined with impressing archive footage illustrate and elucidate the complex Austrian history between WW1 and WW2.

Judit is up to her neck in art studies and the elitist art community but chucks it all to pursue a successful career as a billiard professional -- not exactly a likely alternative in real life, but certainly more lucrative. Just as she is finally at the apex of her chosen second field, Judit encounters male jealously and/or aggression in the form of intentional snubs from this different class of snobs, or in the worse instances, rape. Director Kitty Kino portrays many of the male figures in this film as weak, or drunk, or simply offensive, and because of the emphasis on those traits, the film will raise objections from some viewers. On the other hand, many women might see this film and feel that at least it brings up the difficulties women can face in getting ahead in a male-dominated arena, instead of side-stepping or ignoring the role of male prejudice.

Caught Feelings is the succinct title of a film which deals with emancipation trends from the viewpoint of young Austrians. Manfred Kaufmann's first film reports on tensions which may arise from the contradictions between collective and individual feelings. He works with subtle and psychologically perfected indications which explain the symptoms and illustrate the reactions. But this film is also a vehement attack on bourgeois feelings and the resulting behaviours. He shows character traits which use masks to simulate emotion as well as those which are ready to remove their masks in order to let feelings take effect. (Herbert Holba)