Juno Sylva Englander

Austrian television director Fritz Lehner makes his feature debut with the big-budget drama Jedermann's Fest, based on the 1911 play by Hugo von Hofmannsthal, which in turn was based on a medieval tale. Originated in parts of England, the myth of Jan Jedermann ("John Everyman") deals with a rich man on his deathbed coming to terms with his life's failures. Not following much of a plot, the modernized version involves famous fashion designer Jedermann (Klaus Maria Brandauer) imagining his last big gala event while rendered unconscious as a result of a car accident in his Ferrari. He is a success in Vienna but not in fashionable Paris, so he wishes to impress French elder stateswoman Yvonne Becker (Juliette Greco).

Paul and Erik, two introverted loosers lacking social contacts, both work in a smudgy kitchen of the cheap chickenburger fast food store "El Chicko". To pass time and monotony, Paul tells his partner time and again stories about a murderer killing women, of which Erik always wants to hear more and more. Eventually, Erik starts to believe that Paul is telling about himself.

Two crooks escape from jail and take refuge in a remote hotel. However, their plans soon start to go wrong, leading them to wonder whether they really are free or whether in fact they are already being roasted alive in the flames of hell.

Judith is a maverick reporter who is also seeking a satisfying relationship with various men. She finds corruption and power-games everywhere.

Within the span of 48 hours "contemporaries" encounter each other. In the middle is Max, who lost his job years ago because of his affair with the wife of an influential man. The story of an encounter which turns out badly because the people involved can't quite communicate.

Franz Holl, 6 years old, is sent off by his mother and stepfather to live on his father's farm. His father turns out to be a mischievous man who won't grant him any chance in life. The roles are played by amateur actors from Carinthia.

A misunderstood youth is incorrectly placed in a mental hospital.

A deaf and dumb accountant suffers from a psychic trauma in his childhood. He is collecting puppets and mutilates female bodies in the mortuary. After his secret love died by an accident he starts to kill.

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions