The Café Elektric has a “mixed” clientele. This is where criminal gigolo Ferdl spends his evenings, but it´s also where men like construction tycoon Göttlinger celebrate a successful business deal with the girls. One of the girls is Hansi who dreams of a better life but remarks that “the likes of us never get out of the Elektric”. Meanwhile Göttlinger´s daughter Erni falls for Ferdl. When he demands money from her she can only steal from her father. Construction engineer Max is concerned over Erni´s possible downfall but covers her. Things change when he meets Hansi. When Ferdl uses a ring stolen by Erni to impress his former girlfriend Hansi, matters get complicated and fates entwine. Continue reading
A woman inexplicably finds herself cut off from all human contact when an invisible, unyielding wall suddenly surrounds the countryside. Accompanied by her loyal dog Lynx, she becomes immersed in a world untouched by civilization and ruled by the laws of nature. Continue reading
Siegfried A. Fruhauf
Born:1976 in not specified
Foto: Siegfried Wöber
Born in Grieskirchen (Upper Austria) in 1976 and grown up in the small village of Heiligenberg (Upper Austria). 1991 – 1994 Training as commercial manager.
Studied experimental visual design at the University of Artistic and Industrial Design in Linz where he first came into contact with the Austrian Film Avantgarde. From 1995 to 2010 he lived and worked in Linz and Heiligenberg. 2002 Supporting Award for Filmart by the Austrian Federal Chancellery.
Since 2001 organization of film and art events. Since 2009 lecturere at the University of Artistic and Industrial Design, Linz. Numerous works and shows in the area of film, video and fotography. Participation in various important international film festivals (Festival de Cannes – Semaine Internationale de la Critique, Intenational Filmfestival of Venice – Section Nuovi Territori, Sundance Film Festival Park City, …). Member of sixpackfilm.
Has a son (Jonas Theodor) with the Austrian journalist Anna Katharina Laggner. Lives and works in Vienna and Heiligenberg since 2010. Continue reading
Her mother goes off to Kenya in search of beach boys willing to provide her with amorous services. Her staunchly Catholic aunt is absorbed in house-to-house evangelism. Thus, thirteen-year-old Melanie spends the holidays in a diet camp in the Austrian mountains. In between physical training and nutritional counselling, nightly pillow fights and a secret bout of binge drinking at the local disco, she falls in love with the doctor and camp director, who is forty years her senior. Melanie uses all her seductive wiles to win him over …
In the third part of his ‘paradise’ trilogy – following Paradies: Liebe and Paradies: Glaube – Ulrich Seidl pits the deep-seated human desire for love and security against harsh reality. From the sterile surroundings of the diet camp, Seidl filters impeccably pristine, minimalist images in which any hint of sensuality, passion or anarchy would appear to be a complete anathema. And yet Paradies: Hoffnung is the most tender of the three ‘paradise’ films, for his young protagonists bear within them a spark of hope that love is not just an illusion, but can be an honest and powerful emotion. Continue reading
Engaged to the daughter of an aging baron, an ambitious advertising executive wishes to renovate the baron’s crumbling castle into a holiday getaway for the social elite. In his zeal to seal the deal, he manages to alienate his friends, lose his fiancee, and end up with nothing.
Based on Gerhard Fritsch novel, nominated for the Academy Awards. With avantgarde jazz music by Friedrich Gulda. Considered the first film of New Austrian Cinema in 1968. Continue reading
Put together a subversive filmmaker like Ulrich Seidl with the subject of religious fanaticism and you’re bound to get something provocative. But Paradise: Faith, the second part of the Austrian director’s trilogy about three women from the same family on different quests, is possibly more interesting to think about and discuss afterwards than to sit through. Depending how you look at it, there’s a pitch-black comedy buried in here or a redeeming shred of empathy at the tail end of two grueling hours. Either way, it’s strictly for the faithful. Continue reading
Cinema feeds on stories of love and death, but how often do filmmakers really offer new or challenging perspectives on either? Michael Haneke’s ‘Amour’ is devastatingly original and unflinching in the way it examines the effect of love on death, and vice versa. It’s a staggering, intensely moving look at old age and life’s end, which at its heart offers two performances of incredible skill and wisdom from French veteran actors Jean-Louis Trintignant and Emmanuelle Riva.
The Austrian director of ‘Hidden’ and ‘The White Ribbon’ offers an intimate, brave and devastating portrait of an elderly Parisian couple, Anne (Riva) and Georges (Trintignant), facing up to a sudden turn in their lives. Haneke erects four walls to keep out the rest of the world, containing his drama almost entirely within one apartment over some weeks and months. The only place we see this couple outside their flat, right at the start, is at the theatre, framed from the stage. Haneke reverses the perspective for the rest of the film. The couple’s flat becomes a theatre for their stories: past, present and future. Continue reading