Die Kinder der Villa Emma [The Children of Villa Emma] (2016)

Die Kinder der Villa Emma
Director: Nikolaus Leytner
Writer: Agnes Pluch
Cast: Sophie Stockinger, Ludwig Trepte, Nina Proll, Muriel Wimmer, Laurence Rupp, August Zirner, Christian Dolezal, Maximilian Paier, Juri Zanger, Haris Begic, Justus Schlingensiepen, Enzo Gaier, Leon Orlandianyi
Seen on: 20.1.2021

Plot:
Betty (Sophie Stockinger) lives in Vienna in 1941. As a Jewish girl, that is not the greatest place to be, so her father (Christian Dolezal) makes sure that Betty gets on a train with a group of children led by Helga (Nina Proll) and Georg (August Zirner). They hope to bring the children safely to Palestine. But the way there is dangerous and takes a lot of time.

Die Kinder der Villa Emma tells a good story, but it doesn’t tell it very well, I’m afraid. It doesn’t tell it badly, either, but there was something missing.

The film poster showing a group of children running towards a big mansion as well as several characters from the film.
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Fallen [Falling] (2006)

Fallen
Director: Barbara Albert
Writer: Barbara Albert
Cast: Nina Proll, Birgit Minichmayr, Kathrin Resetarits, Ursula Strauss, Gabriela Hegedüs, Ina Strnad, Georg Friedrich, Darina Dujmic, Angelika Niedetzky
Seen on: 19.1.2021

Plot:
At the funeral of their former high school teacher, Alex (Ursula Strauss), Brigitte (Birgit Minichmayr), Nina (Nina Proll), Nicole (Gabriela Hegedüs) and Carmen (Kathrin Resetarits) meet each other again for the first time in years. Apart from Brigitte, they all moved away from their home town and haven’t been back in a long time. Caught in a wave of reminiscence, they are loath to part after the funeral is over and instead take to exploring the area again, accompanied by Nicole’s daughter Daphne (Ina Strnad). But the trip to the past isn’t always pleasant and their relationships aren’t without tension.

Fallen is a fantastic film that explores the complex relationships of these women, brought together by circumstances in the past and in the present, but no less meaningful for that. I really loved it.

The film poster showing Alex (Ursula Strauss), Brigitte (Birgit Minichmayr), Nina (Nina Proll), Nicole (Gabriela Hegedüs) and Carmen (Kathrin Resetarits), all dressed in black with their arms spread wide, their hair blowing in the wind, at the edge of a hill.
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Nordrand [Northern Skirts] (1999)

Nordrand
Director: Barbara Albert
Writer: Barbara Albert
Cast: Nina Proll, Edita Malovcic, Astrit Alihajdaraj, Tudor Chirila, Michael Tanczos, Georg Friedrich, Brigitte Kren, Margarete Tiesel
Seen on: 12.2.2016

Plot:
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.

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Re-Watch: Komm, süßer Tod [Come, Sweet Death] (2000)

Komm, süßer Tod
Director: Wolfgang Murnberger
Writer: Wolf HaasJosef Hader, Wolfgang Murnberger
Based on: Wolf Haasnovel
Cast: Josef Hader, Simon Schwarz, Barbara Rudnik, Michael Schönborn, Bernd Michael Lade, Nina Proll, Karl Markovics, Reinhard Nowak
Seen on: 13.7.2015

Plot:
Simon Brenner (Josef Hader) used to be a police man, but after a, let’s call it a disagreement with his boss, he lost his job and now works as an ambulance driver together with Berti (Simon Schwarz). Brenner is not a very ambitious person and has settled in that life. But when a nurse and a doctor are murdered, and shortly afterwards one of his colleagues and another colleague is accused of the crime, his routine gets shaken up and Brenner finds himself investigating, rather in spite of himself.

Komm, süßer Tod has an excellent sense of humor and an interesting crime story, so it’s not surprising that it was the start to probably Austria’s most successful cinema series, even though from a film-making perspective it’s actually quite abysmal.

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