Plot: Wiebke (Nina Hoss) runs a horse stable where she trains police horses. She lives with her adoptive daughter Nicolina (Adelia-Constance Ocleppo) and things are going really well. Since everything is so harmonic and business is taking up, Wiebke decides that she wants to adopt another a girl. As a single mother, she has to go to Bulgaria – as she already did with Nicolina. She and Nicolina find Raya (Katerina Lipovska) there and take her home. But with Raya, Wiebke may have gotten more than she bargained for.
Pelikanblut is an excellently made that speaks a lot of truth about adoption and traumatization, but uses it, unfortunately, to push the sacrificing mother image a little too hard. Still, most of it was so extremely good that I’m willing to forgive even the parts I strongly disagreed with.
[SPOILERS. They are vague, but may still take too much away.]
Plot: Tobias (Joseph Gordon-Levitt) is the co-pilot for a flight from Berlin. Everything is going fine with the preparations, but as soon as the machine is up in the air, all hell breaks loose. A few men try to take over the plane. There are strict protocols for a situation like this, but as Tobias quickly learns when you’re actually faced with having to apply those protocols, things are far from clear-cut.
7500 is a tight thriller with an excellent performance by Gordon-Levitt that taps into an often-conjured scenario in a realistic way. I am a little hesitant if it really manages to work against the anti-muslim sentiments that come with that scenario, but at least it tries very much to do so.
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.
Özge (Violetta Schurawlow) is a taxi driver with anger management issues. One night she returns home just in time to see a murder in the appartment building across the street. Unfortunately the killer sees her, too and subsequently turns her life upside down completely. Özge finds an ally, though, in grumpy police officer Christian (Tobias Moretti) who offers her a place to stay almost inspite of himself. But Özge is a fighter and she won’t be playing victim for anybody, not even a killer.
Die Hölle really didn’t work for me, despite a couple of things that I did like. It was one of those films that left me uneasy as I left the cinema and that I disliked more and more with every minute I thought about it.
Glazius is a climate monitoring station in the alps. They’re keeping an eye on the glaciers, basically documenting their recline. When Janek (Gerhard Liebmann), the station’s constantly drunk technician, and Falk (Peter Knaack), one of the scientists, discover a red glacier made up of a peculiar, organic substance and Janek soon after sees a very weird looking animal, the climate change quickly becomes the smallest of their worries. Especially since Ecology Minister Bodicek (Brigitte Kren) is approaching with a small delegation.
Blutgletscher is Austria’s first creature feature and as such it is of course a historical movie. But it’s also a really cool movie that works perfectly – right up until the ending.
Fatma (Nihal G. Koldas) is very ill. Worried about her family in case she died, she decided that her husband Mustafa (Vedat Erincin) needs a second wife. So she arranged that Ayse (Begüm Akkaya) can officially marry their son Hasan (Murathan Muslu), so she can come to Austria from Turkey. But the rest of the family, especially Fatma’s older daughters Kezban (Alev Irmak) and Nurcan (Dilara Karabayir), are less than excited about the situation. Not to mention Ayse herself.
Kuma is told from a perspective that is usually rather unaccessible for people outside of the Austro-Turkish community and it is a pretty interesting perspective at that. Unfortunately, it tries to take on a little too much.