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- Footage from The Entity (1982) is edited into an abstract nightmare.
- The stars in the night's sky. Pinpricks of light against the darkness excerpted from films beginning at cinema's dawn and continuing to this present day in a project that is planned to be expanded yearly.
- ILLUSIONS and MIRRORS is about the futile attempt of chasing a shadow that wanders through the dunes of an empty beach. When it finally comes to an encounter in a deserted house, the young woman experienced a disturbing surprise.
- Documentary about the life of avant-garde filmmaker Maya Deren, who led the independent film movement of the 1940s.
- Beatrix is home alone. Most of the time. In a house that she does not own. A house in which she lives only temporarily.
- ELFRIEDE JELINEK: "Language Unleashed" Child prodigy, scandal writer, traitor of the fatherland, theatre fury, feminist, model lover, communist, pessimist, language terrorist, rebel, enfant terrible, defiler of the nest, brilliant, vulnerable artist, Nobel Prize winner.
- A man with a ape mask is searching for a boy with a hessian hood in a maze of depravity, a pandemonium of our nightmares and darkest desires.
- An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird."
- 'Washed up' presents a portrait of people who spend their lives on the banks of the river Danube or on the river itself. (Robert Buchschwenter)
- A man rescues a boy and later tries to get him off his back but to little avail, so they end up drifting around a subterranean world, populated by grotesque masked figures. A hundred years after Chaplin filmed his first feature film, The Kid, Norbert Pfaffenbichler offers an experimental punk-style interpretation, which the filmmaker himself has defined as a dystopian slapstick film.
- An attempt to transform a Roman Western into a Greek tragedy.
- 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 (Artforum, Nov. 1980)
- In marketing and the retail sector, data analytics is widely used to profile and micro-target consumers and to predict behaviour. The ultimate goal, apparently, is for humans to be able to outsource all decision-making to machine intelligence. What is at stake within the political realm?
- 18 years after Kurt Kren produced his third film, he shot his masterpiece 37/78: Tree Again (1978). 18 years after I created my third darkroom film, I embarked on Train Again. This film is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard.
- A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography.
- Unknowingly, a copy shop employee sets off a bizarre series of events with utterly unforeseen consequences.
- How can cinema engage with complicity in crimes against humanity? DE FACTO finds answers to this question in a meticulously directed play of two actors, a precisely compiled film script and a deliberately reduced setting.
- The heroine of the title grows up. Slights, dance school, a cinema of glances, of tender moments, of trivial pop songs. A cinema which takes time, makes observations and which continuously finds or invents opposite picture sequences for loneliness and breaking free. (Christian Cargnelli)
- The film FORST bridges reality, activism and fantasy. FORST is a documentary with fictitious elements about a mysterious group of outcasts in the forest. This 50-minute film was awarded the "best short documentary prize" at the Graz Diagonale film festival. FORST is a portrait of a forest in the middle of Europe that harbors a community of banished people, set beyond urban life and civilization - a stranded world. In FORST, the outcasts proclaim their own truth and tell the story of their empowerment. For slowly they become aware of their identities as political refugees and they begin drawing liberation plans. FORST is unsettling and leaves thousands of questions unanswered. It documents a struggle at the front line of hardened opinions, the struggle of who defines reality. The filmmakers' view confronts the audience's view by being provocative, insolent and belligerent. (Amon Brandt)
- Film ist. consists almost entirely of excerpts from various scientific films. This footage shows the flight of pigeons, intelligence test performed on apes, upside-down worlds and stereoscopic vision, hurricanes and effect of shock waves. How glass breaks, how small children walk and a Mercedes crashing into a brick wall in slow motion.
- Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.
- A sunbathing woman has a phantasmagoric vision of ecstasy, derived from various found footage sources.
- For over a decade, toxic waste has been dumped illegally on the coastline of Somalia. The earthquake and tsunami in 2004 damaged the toxic containers and spilled waste, which caused the spread of diseases. Many people left their villages but some stayed and lived with the consequences.
- The official trailer of the International Film Festival Viennale '99.
- Bits of found film and different types of animation illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy's secret headquarters.
- A young man interviews people on the street. He asks them what is important to them, in order to discover something important about himself, but he can't find anything. A young woman, after several failed attempts, finally succeeds in finding some kind of happiness in her life, something that might be called love.
- Sunset Boulevard is the attempt to simultaneously picture the two big, contradictory myths of U.S. America: the myth of unlimited individualism ("lonesome rider"), and the myth of the "melting pot". All kinds of people are all in the same way, mostly alone, caught in their cars, which also remind us of similar box-like containers such as houses, offices, factories, etc.
- Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity, though the "action" itself was primarily a gradual destruction of the erotic.
- The earlier films of Valie Export, one feels, were motivated by the author's desire and need to investigate her own subjectivity, with the audience as a necessary part of the transference and the polemic. Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... (Joana Kiernan)
- The film is based on a novel by Samuel R. Delany and is about a brief and impossible love affair between a woman tied to the earth and a space traveler especially created for work in outer space. The film looks as if it based on a trick: it consists entirely of negative images. But the effect is more than a simple reversal from positive to negative, details make clear that its precisely arranged.
- An old photograph forms the starting point of my exploration. The picture must have been taken towards the end of the 19th century, at a time when film had just been invented and pictures were only starting to move. Its origins date back to a phase of transition between the still and the moving image. By creating a wide variety of duplications of a single image I am trying to translate it into the temporal and contemporary nature of film.
- After the sixth great mass extinction, humankind has disappeared from the Earth. But new life awakes and tries to understand - and then it discovers the film history of humanity.
- Arnold's original material is a piece of found footage from the 1950s; 18 seconds long and very typical for the period. A quiet take: a living room, a woman in an armchair. Her husband opens the door, kisses her, then moves out of the picture accompanied by a disturbing pan, his wife follows him. In Arnold's film the sequence takes 16 minutes. Cadre by cadre, it becomes an exiting tango of movements. But "Pièce Touchée" is more than just a matter of forms. The reflections, distortions, and delays it displays challenge Hollywood's stable system of space and time.
- This three-minute film was far more akin to the American-style "happening" in that the content was not particularly extreme. It was built up from items such as broken bicycle parts, a nude model, pieces of furniture, and these elements were then obscured or transformed by having a layer of paint thrown on them.
- Elektro Moskva is an essayistic documentary about the Soviet electronic age and its legacy. The story begins with the inventor of the world's first electronic instrument, Leon Theremin, unveiling the KGB's huge pile of fascinating devices, some of which were musical. They all came into existence as a by-product of a rampant defense industry. Nowadays, those aged and abandoned 'musical coffins', as solidly made as a Kalashnikov, are being recycled and reinterpreted by the post-Soviet generations of musicians, sound collectors and circuit benders. The story of the Soviet synthesizers as an allegory to the everyday life under the Soviet system: nothing works, but you have to make the best out of it. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.
- A portrait of Vienna's 11. district, "Simmering", a former industrial and worker's neighborhood.
- Mickey Rooney and Judy Garland perform a hellish courtship in a nightmare of the American dream, created by manipulating old film.
- As a crossmedia project, connecting film with the online video scene, WANNABE tells the story of a young YouTuber, who builds herself a fictitious world on the internet (www.youtube.com/cocochannel99).
- Science-docu-fiction, or a documentary popular science film - that's what the creators described it. The action begins on a spaceship controlled by womens - cartographers from a civilization unknown to us. They are designed to study the planets encountered in space. At some point they reach our Solar System and their sight falls on Earth. Researchers are delving into the nine hundred million years of our planet's development history. Through the eyes of cosmic cartographers, MappaMundi takes its viewer on a greatly accelerated voyage through 950 million years of development on Earth, 150.000 years of human migration and 15.000 years of human cartography. The film visualises the continuous changes taking place in our world, change that is imperceptible over a single human lifetime. MappaMundi is a film about the image of the world that we have repeatedly re-drawn for thousands of years. With over hundred world maps from the past 15.000 years, the development of our view of the world from its beginnings to the present day is analysed and illustrated in all its diversity. MappaMundi shows the world we inhabit as the result of a process of continuous, radical change, a process of incessant transformation - that is both unstoppable and fascinating.
- A landscape in which everything moves is afflicted with a figure which is in itself static, but which moves - a kind of mechanic man? In Mécanomagie both the borders of perception and (natural) laws are infringed so that something new may emerge: nature as a boundless state of ecstasy! (Peter Illetschko)
- In crude, hand-drawn animation, Balzac und das Auge Gottes evokes the scatological, sadomasochistic actions and performances of Otto Muehl and Günter Brus. (Regina Cornwell)
- A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production. (Peter Tscherkassky)
- Father Omar, who has lived with his family in Austria since 1991, plans to buy an apartment in Kurdistan as an investment, if even as retirement home. This is neither controversial within the family nor is it really successful. The director films the fragile plans as a critical and occasionally ironic witness.
- Young Bolivian Juana gets a job as a sewer in the neighboring country Argentina, wherefore she has to leave her husband and her baby-son. After arriving in Buenos Aires, the promised factory turns out to be a prison. Textile goods for luxury brands are produced under inhumane circumstances: long working days, sexual abuse and no permission to exit the factory. After a series of fatal incidents, she tries to escape from the factory by any means.
- A man faces his approaching death. He takes a journey, his last perhaps, and ends up at the Pensão Globo in Lisbon, where he sets out on an aimless excursion through the city. The film depicts a life in a state of transition. "Sometimes it's like I'm already gone, become a ghost of myself."