Borderline

Psychoanalytic study of the artist and social critic, Pier Paolo Pasolini.

An unhappy young photographer is about to make his debut as a journalist. He is to write an obituary about the weapons-crazy mayor of a Lower Austrian village who, it is said, had a tank from WWII. In the course of his research he unearths a conspiracy of wifes murdering their husbands to get an early widowers pension.

An unusual love story between a farmer from a small village and a 25-year-old recently released prisoner from Vienna. First he wins the acceptance and sympathy of the villagers before his past catches up with him.

It all begins with a mistake, an error with serious consequences: in a hospital the new-born babies of an Austrian couple and a Turkish family of immigrant workers are mixed up and go home with the wrong parents. By the time the mistake comes to light, it emerges that the Turkish family, including the baby, has been deported. The despairing Austrian couple begins a confusing odyssey through Turkey in order to track down the unsuspecting family to their native village. But they are not at all convinced that the babies have been mixed up. It is decided that the only way to know for sure is to have a blood test done. It is decided that the blood work is done in Vienna due to the better medical resources, but that will be far from simple. It will involve an illegal smuggling of the Turks across the Austrian border.

Twenty-eight well-known filmmakers living and working in Austria were invited by WIENER MOZARTJAHR 2006, to produce associative miniatures on Mozart. Requirement: they had to be one-minute artistic short films. The directors come from a whole range of different backgrounds, ranging from animated, experimental and short film to documentaries and feature films. The result is a multi-facetted sampler of diverse formal and contextual positions with regard to Mozart’s person and his influence on today’s society, art and culture. The contributions run the gamut from experimental-conceptual statements through socio-critical and documentary observations to pithy short feature films.

I love Vienna is a social comedy that explores the clash of cultures and values.

The film tells the story of three young men who land in an Austrian prison for various reasons. They have been sentenced for minor misdemeanors and are confronted by the prisons merciless subculture.

A small retirement home on the edge of Vienna where the city's oldest residents live. Patients over the age of 100 begin to die under mysterious circumstances. The police's secret investigation concentrates on the nursing staff at first. But the new medical director, Dr. Klein, discovers that one of the patients is the culprit.

One morning police storms into the house, where Karl lives with his mother to arrest the young man. Whatever the charge is, it seems to be something nobody has the slightest understanding for. Months before: Karl is working in a hospital. He is fascinated by a strong willed old lady, A friendship develops with this patient becoming more and more romantic. One night the two of them get closer, closer than allowed.

20-year-old Rocco (Morteza Tavakoli) wants to strike out on his own and break out of his family’s rigid life. Through the friendship of Max (Ronald Rudoll) and Leila (Anna Franziska Srna), who are working on opening a bar, Roccco’s dream of a “normal life” becomes a possibility. But Rocco is equally drawn to the cool appearance of criminal Bobo (Ronald Hein. By the time Rocco realizes what is behind Bobo’s friendly exterior however, his life has already spun out of control.

As a young stranger enters the life of a rich but emotionally paralyzed family, everything changes.

An encounter between a young musician and a mysterious young woman who “works” as a scarecrow to “silence the birds,” and likes to spend time at the Armenian cemetery to talk with the dead.

Documentary about Ute Bock