Johannes Schmelzer-Ziringer

Daniela não sabe o que fazer com sua vida ou para onde ir. Sofrendo de insônia, ela tenta encontrar uma saída para o que chama de "fase liminar constante." Ela vagueia pelo seu bairro em Viena e passa o tempo com duas amigas, Mia e Natascha, que foram visitá-la de Berlim.

Wunderkind, scandalous author, traitor to the fatherland, fury of the theater, feminist, fashion-lover, communist, pessimist, language terrorist, rebel, enfant terrible, nest fouler, brilliant, vulnerable artist, Nobel laureate. This film about Elfriede Jelinek, who in 2004 became the first Austrian author to receive the Nobel Prize for Literature, focuses on her artistic approach to language. The montage of archive material with voiceovers and interviews, some of them recently recorded, is told from Jelinek’s point of view.

A bittersweet relationship film about love, work and the daily struggle for happiness.

Elli é uma androide e mora com um homem a quem chama de pai. Durante o dia, os dois nadam na piscina e à noite ele a coloca na cama. Ela compartilha suas memórias e qualquer outra coisa que o homem a programe para lembrar. Memórias que significam tudo para ele, mas que não dizem nada para ela. No entanto, durante uma noite, Elli sai rumo à floresta seguindo um eco que se desvanece. Essa é a história de uma máquina e os fantasmas que todos carregamos dentro de nós.

A self-built screen amid an expansive green landscape. On it dance silhouettes of the surrounding trees and bushes. A natural cinema – without a darkened cinema hall, without artificial light and without film. From various camera positions, Viktoria Schmid portrays her screen, installed in the sculpture park of the Djerassi Resident Artists Program, as a moving image within a moving image.

O documentário reúne pedaços biográficos de uma família dividida entre o final do século 19 e o século 20. É sobre pessoas que por acaso se encontraram, para então se perderem. Agora são seus descendentes, filhos e netos, que começam a desaparecer. É sobre fala e silêncio. Primeiro amor e felicidade perdidos. Pais e mães, filhos e irmãos, as relações, a mágoa e a alegria nas paisagens de transição — cada um com as entrelaçadas características de seu tempo. Uma colagem de imagens, sons, cartas, diários, notas, vozes, fragmentos de tempo e espaço.

It seems to be an intermediate world of peace and quiet, the garden and country house where four people look back on testing lives. And forward, to the time they have left. On the one hand, there is regret – on the other, satisfaction. In a way, they are looking forward to the future – but at the same time, a longing for death regularly arises. And who is actually behind the camera? Are we watching actors or real people? Is there really any difference? Garten is full of contradictions – it is not until the credits roll that we realise who these people from very different backgrounds are.

Verão de 1989, Alemanha Oriental. Adam trabalha como alfaiate, Evelyn como garçonete. Eles estão planejando férias juntos quando Evelyn descobre que Adam a está traindo e decide sair de férias sozinha. Ela viaja para a Hungria, seguida por Adam. Assim que a fronteira com a Áustria cai, tudo muda na Hungria. As fronteiras estão abertas, como novas possibilidades para Adam e Evelyn decidirem em que mundo - oriental ou ocidental - querem construir uma vida feliz.

The anti-psychiatric Socialist Patients' Collective (SPK) was founded in Heidelberg in 1970 and attributed individual suffering to society’s capitalist structures. It began as a self-organised experiment in group therapy led by doctor Wolfgang Huber with psychiatric patients, featuring Hegel readings and individual agitation, before subsequently radicalizing, which ended in criminal proceedings against its members, some of whom went underground with the Red Army Faction.

Tradition and modernity, contrasting ways of life: the master of archival footage has assembled an impressive collection. His serene narration takes us inside the private lives of migrant families in different eras, from the beginnings of film to the present day. This new film from one of the great avant-garde directors is also a powerful tribute to a neglected genre.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

Marko é um solitário e pensativo estudante de uma escola agrícola, que luta contra a apatia do lugar, uma fazenda fora de Berlim. A vida simples do rapaz é mudada com a chegada de Jakob, um jovem adorável, sorridente e sensível. A amizade entre os dois floresce e os leva ao mais profundo território emocional. Enquanto o ambiente se mostra estranho e difícil, carinhosamente eles seguem em frente.