Christian Schmidt

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.

Musical film-noir parody about Max Müller, an underemployed private detective who is asked by his beautiful but secretive client, Ingrid Bergmann to look for her disappeared fiancé. Together with his assistant Larry he combs the underworld and little by little it becomes clear that his mysterious client is not what she seems to be.

The sunday ritual at home with parents, an alumni meeting of former school colleagues who once again, and some of them as young mothers and fathers, are confronted with the world of (their) children. Shots of mentally and physically disabled people who are brought to work in a bus early in the morning: people who have remained children. Many other images about childhood and being a child.

Photographer Niki List's debut film observes Vienna's bizarre youth scene. Malaria is the name of a small café that serves as a meeting place for a wide variety of people who identify with various social groups. Anything goes in the café. List ironically describes the young people of the so-called No Future Generation, discussing their communication behavior and the emptiness and aimlessness that define this generation. A Viennese New Wave film, Malaria was lauded as a "documentary masterpiece" and awarded the Max Ophüls Prize.

Intimate images of Schreiner's own family and friends' experiences, presenting them as seemingly unconnected scenes that resemble snapshots from a photo album.

Helden, a village in a secluded, forgotten valley in Tyol. A place where the world is still a happy place, where a simple poache named Max loves poor Emma. However, he doesn't want to stand in the way of her being happy by marrying the greedy mayor's rich son. Time stands still in Helden, where Father Johannes is still able to stir up the parish with his sermons, where the oldest resident has already celebrated his 300th birthday, and where the village idiot reads Marcel Proust. One day, this idyll is threatened when the mayor plans to turn the village into a tourist trap. The heroic Max is ready to fight this decision and do battle against injustice. It's no surprise that Emma sides with him, and after staving off the evil menace, he can marry his beloved as a reward.

A 36-year-old high-school music teacher in Vienna yearns to become a rock musician. His life consists of defiant students, cynical colleagues, and a broken marriage. Does he have a chance at his dream?