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Fresh out of a psychiatric hospital, Pia moves back in with her parents to get her life together. Torn between a new job, lovesickness, psychotropic drugs and social stigmatization, she emerges into a world where everything seems out of control.Read More »
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… (Written by Sixpack Film (Christian Cargnelli))Read More »
A former martial artist hired to train three wealthy Jordanian sisters finds her “dream job” turning unsettling as the isolated young women are under constant surveillance and show no interest in the sport. Why was she really hired?Read More »
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Austria, 1942: A deserter hides from his pursuers in the caves near a small mountain village. He only ventures outside at night to get food from his wife in the village. But the Gestapo and the local police are hot on the fugitive’s heels.
“In contrast to the fashionable bells and whistles and pleasing arts and crafts, in contrast to the average that is becoming more and more widespread in cinema, this quiet, dense “little” film is a feast for the eyes. Predominantly static shots, clear and simply structured black and white images remind us of what cinema actually is or should be about.” – (Süddeutsche Zeitung)Read More »
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Our Trip to Africa (German: Unsere Afrikareise) is a 1966 Austrian avant-garde short film by Peter Kubelka, originally commissioned as a travel diary documenting a wild game hunt. Kubelka used intricate editing strategies to produce a work about anti-colonialism.Read More »
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A short film originally intended to be a commercial for Schwechater Beer, but along the way it morphed into something completely different.Read More »
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Arnulf Rainer’s images are the most ´reducedª of all — this is a film composed entirely of frames of solid black and solid white which Kubelka strings together in lengths as long as 24 seconds and as short as a single frame. When he alternates between single black and white frames, a rapid flicker effect is produced, which is as close as Kubelka can come to the somewhat more rapid flicker of motion-picture projection; during the long sections of darkness one waits in nervous anticipation for the flicker to return, without knowing precisely which form it will take. But Arnulf Rainer is not merely a study of film rhythm and flicker.Read More »
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Kubelkas achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as his basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis for his art.Read More »
