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1-8 of 8
- Vienna, 2019 - the end of an era. The smoking ban in public places means that a part of Kaffeehaus culture has disappeared. Of all moments, this is the one that Angeliki chooses to buy an apartment with help from her interior designer friend, Carmen. Angeliki seems to have something against all of them: either the parquet floors creak, the tiles are the wrong colour or she is bothered by the proximity to a restaurant. How will she ever find a new home in this environment? Carmen feels like she's talking to a brick wall, and she simply cannot understand why Angeliki is refusing to part with her money. A Journey from Vienna to Malaga, via salt flats overcast by mysterious shadows. A homage to the Austrian capital and the bygone splendour in ordinary things.
- Masterfully edited from nearly 200 hours of footage, PAPIROSEN represents a decade of filmmaking, and four generations of Argentine director Gastón Solnicki's family history, culled from 8mm home videos, a VHS bar mitzvah, and original observational material. His father, Victor, emerges as the lead figure, but Solnicki highlights the entire clan. Beginning with the birth of his nephew, Mateo, and punctuated throughout by interviews with his grandmother, Pola, a Holocaust survivor, the film's scope is simultaneously epic and intimate. PAPIROSEN is a meditation on family, history, the importance of storytelling, and the power of cinema itself. OFFICIAL SELECTION - New York Jewish Film Festival
- A blind man searches for answers after a horrific act of violence.
- Several young daughters of rich industrialists examine in an equally intangible and compelling way the physical and spiritual aspects of a cultural recession.
- A man wanders the streets of Vienna, guided by the memory of a friend who has recently passed away. The vestiges of a once sumptuous empire become the setting for a cinematic elegy and a dark celebration of life.
- Somewhere undefined, half-way between empty office spaces and abandoned shopping mall, a young man drops to the ground in slow motion. Walls rot, the mail piles up behind closed doorsteps. Peering through window panes, another young man observes an enigmatic ballet as two elegant young women invert the urban desert and make it into a playground for their subversive imagination. Under cover of re-appropriating the deserted apartments and offices, they engage in strange poetico-political acts, part situationist, part Oulipian. They slip papers and pink, yellow, and green chips under the doors, sowing existential formulas on clothes tags... Negative Path's minimal intrigue amounts to the boy's initiation to the rites and mysteries of the secret society, and the playful seduction it allows for. Script and direction work through subtraction : of drama, of weightiness, of any kind of explanation to the situation. A strangely worrying end-of-the-world atmosphere pervades the empty city, but the catastrophe has already taken place. A few signs hint at its nature : an economy in full and definitive decrepitude, like a collapsological extrapolation of the repeated crises that have struck Argentina. The film's singular beauty owes to the contrast between the portrait of a world in the terminal stages of its collapse, and the supreme elegance, the high-fashion care with which Alan Martin Segal tailors his shots, sets up the frame, lighting, and sounds. But don't let that trick you : under their fun and chic appearance, the negative path taken by the film and its characters is of the highest political consequence. Let the world run to its end to regain life. Create nothingness, then give shape to nothingness. Undo the world, empty it, and make of your life a form moving through free space. Elegance as the ultimate resistance.