Aloys (Georg Friedrich) is a private detective. He works with his father (Karl Friedrich). Or rather he used to as his father suddenly dies. Aloys having already been a withdrawn person who spends his time recording and watching surveillance tapes, his father’s death severs the last real human connection he has. After getting drunk one night, he wakes up on a public bus with his camera and tapes stolen. Shortly after he gets a call from a woman who blackmails him. She has his things, but she will only give them back if he tries “telephone walking” with her: she guides him on a fantasy walk with her voice over the phone.
Aloys was not uninteresting but it didn’t manage to really win me over, I’m afraid. It is too slow in the beginning and I’m not sure that it realizes just how creepy Aloys actually is.
Michael’s (Georg Friedrich) estranged father recently died in Norway. Michael has to go there to take care of things and decides to take his own son Luis (Tristan Göbel) with him. Luis lives with his mother and he and Michael don’t get along all that well, either. For Michael, this trip and the ensuing drive across Norway is supposed to be a chance for the two of them to connect. For Luis, it’s less clear what he wants from his father and this trip.
Helle Nächte doesn’t tell a very new story, but it tells it well. It wasn’t the film I was most emotionally invested in, but I enjoyed it.
Georg (Josef Hader) has worked as a critic of classical music for decades, but with budget cuts hitting media outlets, he is fired. When it happens, he finds he can’t tell his wife Johanna (Pia Hierzegger) who is hoping to become pregnant despite being over 40 already. So Georg pretends to go to work every day and instead finds himself in the Prater, Vienna’s big amusement park. There he runs into Erich (Georg Friedrich). Despite their differences, the two start to spend a lot of time together, starting to renovate an old rollercoaster. But Georg is also set on taking revenge on his former boss Waller (Jörg Hartmann).
Wilde Maus is a dry and very black comedy that makes you laugh more often than it’s actually funny. It could have stood more female voices, but I did enjoy it.
Mao (Pia Hierzegger) inherited an old hotel from her uncle and decides to run it together with her friends and band mates Max (Michael Ostrowski) and Jerry (Gerald Votava). They want to make it a hotel with a rock theme and lifestyle. Meanwhile Schorsch (Georg Friedrich) just happens to crash into the hotel pond after robbing a bank, which brings Schorsch’s business partner Harry (Detlev Buck) to the hotel. Since Harry owns a big hotel in the area, he would like nothing more than to take over the hotel from Mao, but she won’t give up that easily, despite everything.
Hotel Rock’n’Roll was entertaining and fun. Although it didn’t manage to blow me away, it definitely had its moments.
A spanish drugdealer forgot a bag in Poland, so he asks his partner/employee Harry (Detlev Buck) who works in Vienna to retrieve it for him. Harry passes on the job to Schorsch (Georg Friedrich) who in turn asks Mao (Pia Hierzegger) because he wants to watch the 24 hour Le Mans race. But Mao has to babysit, so she sends Max (Michael Ostrowski) and Johann (Raimund Wallisch) to do it instead. But those two can’t necessarily be trusted, and Harry is anxious to see the bag home safe and sound. While Max and Johann think of the entire thing as a nice adventure and an excellent opportunity to make some much-needed cash, Harry convinces Schorsch to follow them and make sure that they fulfill their mission.
Contact High is often funny and sometimes stronger than Nacktschnecken, but for the most part it’s clearly weaker.
Johann (Raimund Wallisch), Max (Michael Ostrowski) and Mao (Pia Hierzegger) are constantly looking for opportunities to make a little money. While Johann works as a postman, Max simply dreams and Mao occasionally sells drugs. Through that work she meets Schorsch (Georg Friedrich) who tells her that the easiest way to make some money is to shoot a porn film. Inspired by that, Johann, Max and Mao jump at the chance. They find two women (Iva Lukic, Sophia Laggner) willing to participate, grab a camera and get going. But maybe shooting a porn isn’t quite as easy as they imagined.
Nacktschnecken is a fun film without much pretense at anything else than wanting to be fun. While I couldn’t go along with it all the time, I did enjoy it most of the time.
Ania (Lilith Stangenberg) lives a quiet life. Her sister (Saskia Rosendahl) just moved out, leaving her the apartment for herself. Apart from her boss’ (Georg Friedrich) temper, things at work are calm as well. But then Ania sees a wolf in the small patch of forest next to her apartment building and she becomes obsessed with capturing it.
Wild is a strange film, but in the best sense. It’s open to a lot of interpretation, although to me it clearly tells the story of a woman who discovers and falls in love with her own wild side. And we could stand more films of that kind.
Jasmin (Nina Proll) and Tamara (Edita Malovcic) were in school together when they were kids, but have since drifted apart. While Tamara is working as a nurse and dating Roman (Michael Tanczos), leading a relatively stable life, Jasmin is drifting at the edge of the politically right scene, moving from guy to guy and none of them are particularly nice. Their paths cross again, when they both end up getting an abortion on the same day. And somehow this time their connection seems to stick.
Nordrand is a smart film that looks closely at harsh social circumstances in Vienna. And it’s also a film with vivid characters that are lovingly set in scene.
Simon Brenner (Josef Hader) now lives in Salzburg where he barely gets by with occasional jobs, the most recent of which – store detective – he promptly loses when he accuses the daughter of the director of the Salzburger Festspiele, Konstanze (Maria Köstlinger). Never mind that he was right. But Konstanze and Brenner are not done with each other yet: Konstanze’s husband recently died, believed to be a suicide. But Konstanze is sure that he was murdered because he spoke up about the sexual abuse he suffered from catholic priests when he was a child. She asks Brenner to investigate. Brenner agrees, going about it in his own very idiosyncratic way and uncovering much more than he bargained for.
Silentium is an improvement on the first film in the series in pretty much every aspect, except maybe acting and sense of humor which were already great in the first film and are equally great now. I enjoyed it a lot.
Kurt (Christos Haas) suffers from Marfan syndrome which has taken almost all of his sight and caused various other disabilities in him. After the death of his mother (Susanne Lothar) or maybe even before that, Kurt becomes unhinged. He behaves inappropriately at a home for the mentally disabled (where he’s staying) and gets thrown out. With the last tether to his existence so far severed, he finds himself an abandoned apartment to stay at, together with runaway Conny (Jana McKinnon). But ultimately Kurt is at war with his own body and existence.
Mein blindes Herz is an artsy movie and just so you don’t miss that fact, it’s got a difficult topic matter, it works with metaphors and it’s shot in black and white. That probably isn’t everyone’s thing and it didn’t work well for me. Mostly I just thought that it was too long, despite the many things it had going for it.