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- Sophie and David, a teenage couple, have their first sexual experiences together. They tip toe around the pitfalls, sometimes they fall in head first; because who would have thought that equally young friends and the internet aren't necessarily the best sources to educate yourself on that matter. This film and its entertaining as well as educational story however is.
- Filmmaker Rebecca Hirneise gets her Protestant uncles and aunts to speak with one another about their personal faith for the first time. The film provides deep insights into Christian mindsets and conflicts that may seem to be anachronistic but which are still lived today.
- At the food truck at the end of the village, people stick together: Even when death and romance come into life at the same time.
- Machete and his sidekick Chico try to unravel the mysteries surrounding their friend's death.
- A naked female* body stepping on a stage with self-confidence and autonomy is still a highly political, radical act. Through their queer-feminist performances the seven artists* of CLUB BURLESQUE BRUTAL demand the normality of female* desire. While never really leaving the stage FEMME BRUTAL translates the core questions of the show into the cinema. The performers are dealing with struggles concerning identity, body, sexuality and the inclination of the gaze. Within the film the backstage and backgrounds shift into the spotlight, become equal to the performance. The glamorous pictures of the show stand side by side with the performers collective stream of consciousness. With disarming honesty, self-irony and openness the protagonists offer insights into their backgrounds, motivations, identities and tell the story of their life-performances.
- A very vicious Vampire visits Vienna.
- Four blind people, that have lost their sight in the middle of their lives. With them we dive into a world of blurriness, fading memories and deep emotions. As they tell us about the pictures they remember, we sink into images, that have lost their intended meaning. What do we remember? How? And what are the images that last?
- Documents the story of several people in Germany and Austria whom have chosen to live the simple lifestyle, in the sharing economy, and finding pleasure in life with fewer things.
- "Forsthaus Rampensau" is a celebrity reality TV - Show on austrian ATV.
- The id, the hippy, the old man, the choir boy and the hipster all agree on one thing - be yourself.
- Riot in the Matrix. Data protection activists fighting against Big Data and the surveillance state.
- This documentary offers a glimpse into Carl Andersens uncommon art and life. Born in Vienna, the capital of Austria in 1958, he participated in the development of Viennas subculture through his bar called "Fun Factory". It was a unique place to have some cheap drinks, see strange movies and join concerts in the cellar. He also influenced the Viennese film community by bringing art house and underground movies, like "Liquid Sky" (1982), or "The Texas Chainsaw Massacre" (1973) in uncut versions to the theaters. As he was a film maniac he started to direct movies by himself. His first two movies "I was a Teenage Zabbadoing" (1988) and "Mondo Weirdo - a Trip to Paranoia Paradise"(1990) became underground classics. In the late 80's Andersen went to Berlin. There he directed and produced more than 10 No-Budget movies. Diffic ult relationships and the process of filmmaking itself were his main themes. He got lost in alcoholism and committed suicide in August 2012. The directors Martin Nechvatal and Gerald Jindra follow his artistic life and show Andersens cinematic work from the beginning until the end. People who worked with him, loved and hated him and who were influenced by him portray a ruptured personality, torn between passion and rebellion, between alcohol addiction and a will for freedom.
- documentary movie about people who were addicted to heroin
- Guatemala. The war ended long ago. Though the people want to forget it, the violence continues, and it has spread throughout the society like cancer. Each day, journalists wait to report on the next murder victim, and a social worker helps the relatives of women who have been killed. The global hunger for cheap resources has been another cause of violence, and a war over bananas has taken on a life of its own. The society suffers from the aftermath of the 36-year civil war. Mass graves are found in the mountains, former rebels mourn their comrades, and a war criminal has nightmares about all the things he has done. Peace continues to elude Guatemala.
- Terese as a young woman breaks out the narrow patriarchal mold of a conservative Viennese family being shaped by the mother's enigmatic sorrow and the father's intimidating authority. She joins a commune with free sexuality and common property founded by Otto Muehl in the early 70s. This initially seems to be a very liberating life and love experiment, with highly developed art praxis in different medias and a prosperous economy. It yet increasingly glides into failure when Otto Muehl starts to act more and more authoritarian and to abuse his almost unlimited power in the group. Terese finds herself again in a difficult situation that calls for a clear decision.
- A radical and uncompromising essay on the impossibility of depicting war atrocities through insightful onscreen text and meditative footage of abandoned structures unremittingly interrogating the relation between image, text and politics.
- A lonely 9-year-old has just lost his father. He tries to cope with the loss along with his mother. Unfortunately, a passion for an older neighbor throws things out of balance.
- "Hyperbulie" is a performance work that pushes the body to its physical extremes. The performance elements are first established: a framework of wires are connected to electric batteries. Valie Export appears, completely naked, and makes contact with live electricity as she negotiates the wire construction.
- The Diver wants to break his grandfather's record and dive twelve laps in his pool. To achieve that, he needs the help from an unconventional coach.
- "Under the Underground" guides us through the improvised spaces of Janka Industries, an underground cellar vault and creative microcosm of Vienna's subculture. Voodoo Jürgens and Bands such as Petra und der Wolf and Tankris practice and perform here in the midst of a bizarre hodge-podge of electronic scrap. A music film and an ultimate underground homage that cinematically captures the magic of the site. It would be best not to try some things presented in this film at home, for one thing, if you attach any importance to sparing your body the risk of being slammed by a high voltage bolt of electricity. Fact is there are unsecure electrical experiments being conducted in a surreal parallel universe set up by the Viennese musician, technician and sound engineer Chris Janka in rambling catacombs somewhere beneath Vienna's seventh district - as if this was at all normal. Janka is incessantly building and tinkering with his equipment and he seems to derive pure joy from his inventions and test assemblies, even if their purpose is not always clear to outsiders. At the end of the 1980s, squatters and punk musicians shared this place with packs of rats that came and went. In the meantime, it is occupied by amplifiers, drum sets, retro reel-to-reel tape recorders and mixing boards for professional recording sessions. Director Angela Christlieb portrays the site and its master of ceremonies using dynamic, densely processed images that interweave musical interludes by such uncompromising niche acts as Blueblut, Schapka, Petra und der Wolf and MCRhine, while including an appearance by the host's brother, Ali Janka - member of the artist group Gelitin. Christlieb presents the Janka brothers as holy fools engaged in absurd artist practices while they narrate how, over the course of decades, the cellar passageways became a studio. They recall how absurd but also romantically punk those early years felt, back when they lived here without electricity, money or running water - and always including a pinch of mortal danger. But in truth what really threatens this underground paradise comes from outside - and outside the non-commercial logic at work here. (Stefan Grissemann)
- Der Theatermacher ("The Theatre Maker") is a play by Austrian writer Thomas Bernhard. It was released in 1984 and had its world-premiere the following year at the Salzburger Festspiele under Claus Peymann. Centered around main protagonist Bruscon, it is full with allusions to the famous festival in Salzburg. During a break in his latest tour the actor Bruscon tries to stage his play "Das Rad der Geschichte" ("The wheel of history") in the small village Utzbach. He involves his whole family in the production as actors - wife, daughter and son. The production becomes increasingly difficult with Bruscons heavy mood swings. He turns out as a tyrant, dissatisfied with every detail - from stage to room temperature - and declares that the village is too small for his outstanding piece anyway. During rehearsals he constantly knocks the others down, highlighting himself as the important actor and theatre man.
- The summer of 1978 in Vienna. The 9 year old Tondo spends his holidays in the inn belonging to his parents. The friends on holiday. Summer hits from the jukebox. Observing. Fitting in with what's going on. Being there, but not taking part. In what? In the life of the adults and older brothers and sisters. But all of them exclude him. Loneliness. Boredom. Only music and, above all, football (the World Cup in Argentina) are common ground but belong specially to Tondo.
- The Sixth Sense. If two letters in the original German title of Dietmar Brehm's new film were changed, it could be translated as Glances. The result would be coordinates of a mode of vision in which subject and object oscillate: A glance triggers flashes of lightening in the brain; synaptic activity during a dream replaces the glance. A man opens his eyes. He sees a cozy room with a burning fireplace; he sees an elderly person lying in the bed and then turning to ring for a servant; he sees a woman taking a shower, and a younger one in bed asleep. Suddenly, all order is reversed. It may be that the woman is merely dreaming of a voyeur; she may be entering REM sleep. She might be dreaming herself into an altered version of Psycho. The feeling of discomfort caused by Bolts of Lightening is made possible by the relevance Brehm adds to his found footage: He permits the telling of a story which is turned completely around and, as in a dream, the story is nothing more than a subsequent synthesis of images which appear suddenly; beauty and transience are not just subjects, they are also a quality of the film's images.