Midnight Eye wrote:
A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society. 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
Topics from social awkwardness to forced nutrition are among the subjects discussed by a man and the various acquaintances that drop by to sit on his couch during a vacation in “Routine Holiday,” a film so utterly devoid of pleasure or meaning it defies comparison. Pointless extended silences and uncomfortable spatial dynamics define this affected drama far more than insightful commentary does.
“Routine Holiday” is a nearly perfect festival movie. Wide release is not an option for a film that that takes the “motion” out of “motion pictures,” and only increased post-Olympic China fever will stoke any interest in even art house release overseas. Distribution in Asia, where Hollywood is king, is also a long shot.
A national holiday is the impetus for Li Hongqi’s (NETPAC winner “So Much Rice”) plodding meditation on China’s socio-political ills. The locus for a series of wooden conversations is Tuo Ga’s (Yang Bo) home, where a parade of friends and relatives drop by on their day off to say … absolutely nothing. The most excitement comes from the Lovelorn Man (Xiao He), who would really like to have an affair — and goes so far as to tell his wife so. The dour space inhabited by a man, his son, two brothers, and a committed couple is suitably bleak, and echoes the characters’ bleak worldviews. Continue reading
Considered to be one of Viola’s most important and accessible works, The Passing was made as a personal response to the spiritual extremes of birth and death in the family and speaks eloquently to human experience at its most profound. Black-and-white nocturnal imagery and underwater scenes depict a twilight world hovering on the borders of human perception and consciousness.
by Stephen Dwoskin (2012)
Exploring the texture, the beauty and the singularity of aging faces and silhouettes, Age Is meditates through tiny details, a gesture, a pause, a look, on the subjective experience and cultural concepts of ageing.
Jane Arden’s The Other Side of the Underneath is a seriously disturbing film. It is also an uncharacteristically bold one. I think that in a lot of ways it is quite similar to Bernardo Bertollucci’s Partner (1968), a film about a young revolutionary, played by Pierre Clementi, whose life changes dramatically when a double appears and foils his plan to commit suicide. In the opening scene of The Other Side, a schizophrenic woman (Sheila Allen, The Legend of Spider Forest) is pulled out of a lake and placed in an asylum.
The film is based on director Arden’s “A New Communion for Freaks, Prophets and Witches”, a play she staged with the Holocaust women’s theatre troupe. It is comprised of a number of different episodes, each exploring a specific theme – female exploitation, voyeurism, sexual deprivation, etc. The Other Side is also a reflection of its creator’s brush with madness.
The key concept behind The Other Side is intriguing. The film argues that madness is part of a cycle that leads to sanity. It also stresses that this complex process is often misunderstood by those who have never experienced madness. Cultural and societal taboos are cited amongst the main reasons for its existence. Continue reading
The experimental film takes place in North-Caroline. In the last days of the American civil war three characteristic figures of the 1849 Hungarian emigration fight: the geographer artillery officer Fiala János, the rational scientist, Vereczky Ádám, the heroic fatalist and the attendant of Fiala: the emotional Boldogh, who struggles with homesickness. The fate of all the “”slowed down”" revolutionaries is hopeless. The boasting Vereczky dies a meaningless death on a huge swing which he was able to survey with the theodolite. Boldogh longs for home, maybe to die, while there is only one possibility for Fiala: he can participate in the construction works of the Pacific railway.
1976 – Won Grand Prize – Mannheim-Heidelberg International Filmfestival Continue reading