Katharina Wallner (Christiane Hörbiger) owns a small shop. Much to the chagrin of her landlord Heinz Ortner (August Schmölzer) she has a contract for life. He would rather have her gone, so he can rent out the shop on better conditions. It’s just when he starts to put increasingly more pressure on Katharina that Katharina’s long lost sister Hannah Laval (Maresa Hörbiger) returns to Vienna. And Hannah isn’t as nice as Katharina, not by a long shot.
I stumbled into the film and since the cast wasn’t bad, I stuck around. It’s a rather solid TV production, but it’s really nota must see film.
Vienna in the not too distant future. People have lost their right to simply die: after you pass away, your body is reanimated, put into a vegetative state and used as processing power or storage device, put to work to pay off the debts you’re sure to have left behind. The only thing that will keep you from becoming a computer part is a death insurance – and Vincent (Clemens Schick) is the best salesman of this of course very expensive insurance. When his boss (Marion Mitterhammer) gives him the task of convincing Wladimir (Daniel Olbrychski) of getting an insurance, he finds himself confronted with Wladimir’s daughter Lisa (Lena Lauzemis) who is fighting to get everybody their right to death back.
I saw Stille Reserven a while ago at a test screening where they showed an almost but not quite finished version of it and asked for feedback. I was not particularly taken with it then, but I wanted to see it once more as a finished product (also to support Austrian SciFi) before judgding it completely. Unfortunately, neither the film nor my impression of it changed much in the meantime. There was just too much about it that was utterly familiar.
Simon Brenner (Josef Hader) is getting by. With the help of Berti (Simon Schwarz) he can earn a little money by repossessing things. When Berti sends him to find a guy and his car, Brenner ends up at an inn in the middle of nowhere looking for him. The guy’s car is there, but nobody admits to knowing him. Sufficiently intrigued by circumstances and with nowhere else to go, Brenner decides to stay for a bit. Despite the foreboding presence of owner Löschenkohl (Josef Bierbichler) whose daughter in law Birgit (Birgit Minichmayr) may have something to do with Brenner’s interest. But a missing guy is only the beginning of the weird events at the Löschenkohl inn.
While the Brenner movies continue their increasing technical proficiency here, regarding plot and script Der Knochenmann is the weakest movie in the series so far.
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.
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.
Radical Evil is a documentary about the mass shootings in Eastern Europe during WWII, where about two million Jewish civilians were killed – by completely “normal” soldiers. The documentary looks at the psychological basis of their behavior as well as quotes from letters and diaries the soldiers themselves wrote to try and understand how they could have done what they did.
The topic Ruzowitzky chose is extremely interesting and he chose fascinating men to interview about it. But I was still rather disappointed by what was made of it.
Simon Polt (Erwin Steinhauer) used to be a police man but he gave that up to live in a small village surrounded by vineyards and working at the local grocery store. His only remaining contact to the police is his friend Norbert Sailer (Fritz Karl). And then one night Simon and Norbert find a body in Norbert’s vineyard and Simon’s retired life is over.
Polt. did surprise me. It’s a made for TV, Austrian crime movie – and those are usually things that are a dangerous combination for the quality of any movie. But it turns out that Polt. is a beautifully shot, slow film with a great cast.
The little Bavarian village Hauzenberg is slowly dying out. They used to be a skiing ressort, but the snow has been lacking. So when Georg’s (Christian Ulmen) rather unfriendly but very religious mother-in-law Daisy (Hannelore Elsner) dies [she gets hit by a cross that falls off a wall because Georg fucks his wife Emilie (Marie Leuenberger) a little too enthusiastically], Georg has the glorious idea to get her declared a saint to get the tourism back in the area. But sainthood isn’t achieved that easily.
Wer’s glaubt, wird selig is a fun little movie. Nothing too great, nothing too bad, but it does have some very nice laughs and just the right amount of irreverence, so it doesn’t get too catholic for my taste.
Robert (Simon Schwarz) is a rising politician who has built his career on being real and honest. In the middle of his election campaign he takes a weekend off to travel with his pregnant girlfriend Katharina (Anna Unterberger) to Tyrol. On their way there, they are followed by Wolfgang (Nicholas Ofczarek) who knows Robert from way back when. And Wolfgang knows something about Robert’s past that Robert has worked very hard to hide.
The movie did not impress me. It’s not really bad, it’s not really good. It just is.