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- Beatrix is home alone. Most of the time. In a house that she does not own. A house in which she lives only temporarily.
- Footage from The Entity (1982) is edited into an abstract nightmare.
- A blazingly colorful and exuberantly transgressive personality who dazzled Los Angeles' underground musical and artistic scenes in the late-1990s and 2000s, Sean DeLear (1964-2017) suddenly emerged as a genuinely seminal cultural figure via the posthumous 2022 publication of their intimate and explicit teenage diaries from 1979. I Could Not Believe It joyously chronicles the experiences of a young Black, queer creative finding their identity, voice and style decades before Barry Jenkins' (rather more downbeat) Moonlight. The Life of Sean DeLear is a vibrantly multi-faceted, buoyantly propulsive documentary portrait of this irresistibly charismatic one-off - sketched in celebratory but commendably clear-eyed style by writer-director Markus Zizenbacher. There can be very few people better qualified to do justice to this particular tale. Zizenbacher befriended DeLear - born Anthony Robertson in Simi Valley, an obscure California backwater - after the latter relocated to Vienna in the early 2010s. There the former front-person of Silver Lake post-punk-combo Glue reinvented themselves as a cabaret performer and collaborated with famed art-collective Gelitin before passing away aged just 52. "SeanDe" entrusted their treasure-trove audiovisual archive to Zizenbacher, who with co-editor Sebastian Schreiner has crafted an eclectic collage generously spiced with effervescent extracts from DeLear's own extensive video-diaries. These jagged hand-held snapshots bring back to often-hilarious life the electric days (and especially nights) from a quarter of a century ago, placed in retrospective context by present-day testimony from the survivors who knew SeanDe best and loved them the most. Sean DeLear - as in "chandelier" - lit up their world; Markus Zizenbacher now illuminates Sean DeLear for ours.
- 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.
- In A Visit to the Country of Boys I want to get closer to those who were presented to me as monsters in my childhood and youth and to whom I felt consciously and unconsciously inferior - the men. I want to make a film about men - about what they are like, what makes them tick, what drives them. But also about how I approach them. What behaviors I put on them, how I react to them. For this I return as a filmmaker to southern Burgenland, to a landscape where I met my husband and spent a few years of my life. The men of my "research area" have taken a liking to me - in their mixture of provinciality, worldliness, sensitivity and hard-headedness. A film about a dialogue, about approaching each other.
- 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.
- 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.
- 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.
- Unknowingly, a copy shop employee sets off a bizarre series of events with utterly unforeseen consequences.
- 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.
- 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)
- It centers on three Jordanian women who barely survived the violence inflicted on them by men, listening to them speak with the opaque logic of trauma.
- 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.
- 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.
- 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.
- An experienced Somali policewoman once again accompanies a young inmate through the procedures of the Somali justice system.
- 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.
- 21 fragments of a feature film, made in India, found in casablance, adapted in Vienna.
- Russian director Aleksey Lapin travels back to his relatives' home village near the Ukrainian border, where the film crew introduce themselves at a specially organized musical event, claiming that they have come to cast a historical film.
- 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.
- Documentary about the life of avant-garde filmmaker Maya Deren, who led the independent film movement of the 1940s.
- An avant-garde sonic and visual reediting of a short clip from the classic 1962 film "To Kill a Mockingbird."
- 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)