A suitcase explores Vienna's suburbia and finds giant soap bubbles. It befriends the soap bubble girl. They create a show together and have a suitcase-child.

When the young Austrian couple oversleeps, the imminent arrival of the girl's parents creates a stress situation that turns into slapstick and chaos.

Historical idioms garnish our language but are often hard to translate. This comedy helps to illustrate them and tells the story of two Austrian neighbours, who become enamoured. “Foam-beater" (boaster) Hanspeter throws an eye after an addleheaded Annemarie, but she just "shows him the bird" (indicates that he is chuckoo). He must "jump over his shadow" (take the plunge) and get a foot in her door. Amusement for proverb fans who love to make whoopee, gaze into the pale blue yonder, or get to the point.

The most earth-shattering news event of June 1914 seemed only a tremor at first, and took place far from any newsreel camera.

Two athletic spider women quarrel over one tasty man. Can he escape?

Shadows of Light combines the loud and soft tones of life. The centerpiece is an Austrian mountain pasture where the summer solstice is celebrated with international artists and where tradition and zeitgeist are not contradictory.

Johanna Dohnal, whose political career spans three decades, was one of the very first explicitly feminist politicians in Europe. As a member of the Austrian socialist government and the first Austrian minister for Women’s Affairs from 1990 to 1994, Dohnal was responsible for founding Austria’s first women’s refuge as well as criminalizing of marital rape. Yet her legacy remains yet to be discovered and re-examined. DIE DOHNAL makes a first step, and it makes Dohnal come alive.

In the small town of Rechnitz a terrible crime against humanity was performed during the holocaust. Until now, no-one dares to talk about it.

Documentary about twin brothers who go back to their childhood home to discover what happened to a Patrick Lurzing, a boy who disappeared who nobody else seems to remember.

Taking the demise of a textile factory in Austria’s Waldviertel region as its starting point, with the antiquated manufacturing plant initially shown in full operation, this film poses the question of what work means for people’s self-image and character. After the factory goes bankrupt and closes, the filmmaker accompanies some of its employees as they continue to make their way, questioning them about their daily routines, the circumstances in which they live, about looking for work or the new jobs they find. One woman’s situation is precarious, but that doesn’t prevent her from bringing up her grandchildren. Another woman works here and there, flexible and resourceful. One man blossoms visibly in his newly unemployed state. Bit by bit, different aspects of their private lives and personal misfortunes emerge.

This film journeys deep into the heart of Austria’s favorite daily newspaper, the Kronen Zeitung, the most widely-read paper per capita in the world. The “Krone’s” 2.7 million readers represent 43% of the Austrian press market. A reflection of the Austrian soul, this newspaper serves as a prism through which we can understand the rise of the populist Right in this country and examine the dangerous flirtation between media and politics. Director and editor-in-chief Hans Dichand’s ingenious populist strategy allows him to reach the greatest number of readers: the paper’s style and content play on base human instincts such as the fear of the “other,” the opposition between “good” and “evil,” and the common man’s sense of powerlessness in the political arena. He then wields the might of this enormous audience to influence politicians and impose his nostalgic vision of a pure, prosperous, and peaceful world.

The antihero "Mr. Karl" tells a "young person", the viewer, his life story while he sits at work in the warehouse of a delicatessen. The narrator increasingly turns out to be an opportunistic follower from the petty-bourgeois milieu, who maneuvered his way through life in the changing course of Austrian history from the end of the First World War to the end of the occupation in the 1950s.

Píše se rok 1781 a Antonio Salieri působí jako dvorní skladatel císaře Josefa II. Když ke dvoru přijede Mozart, Salieri si s hrůzou uvědomí, že božské hudební nadání, které si přál mít on sám, dostal do vínku tento obscénní a rozpustilý vtipálek. Salieri dohnán žárlivostí k zuřivosti organizuje intriky s cílem zničit Mozarta, k čemuž je ochoten použít všechny dostupné prostředky. Možná i vraždu. Podařilo se Salierimu umlčet jednoho z největších géniů světové hudby?

This documentary visits cities and towns and captures stunning landscapes along Europe's majestic Danube at Christmastime. Locations covered include Passau, Germany; Salzburg, Oberndorf, the Wachau Valley, and Vienna in Austria; Bratislava, Slovakia; and Budapest, Hungary. Along the way the viewer learns relevant history.

Vášnivá a inteligentní romance francouzské studentky a mladého Američana, kteří se potkají v rychlíku z Budapeště do Vídně. Čeká je neobyčejných čtrnáct hodin strávených neplánovanou expedicí po Vídni...

Čím byli pro americký film noir autoři tzv. drsné školy Raymond Chandler, James M. Cain a Dashiell Hammett, tím byl pro tradici britského kriminálního filmu Graham Greene. Právě podle jeho románu (v tom prvním případě) a na základě jeho původního scénáře (v případě druhém) byly natočeny nejvýznamnější „britské noiry" Brightonský špalek a Třetí muž. Druhý jmenovaný titul vznikl v rámci Greenovy spolupráce s uznávaným britským režisérem Carolem Reedem. Film má ale mnohem kosmopolitnější ráz – odehrává se v poválečné Vídni, produkčně se na něm podílel Američan David O. Selznick a do ústředních rolí byli obsazeni jeho krajané Joseph Cotten a Orson Welles. Kafkovský příběh zasazený do kulis rozbořené rakouské metropole zdobí Oscarem oceněná kamera Roberta Kraskera a nezapomenutelný hudební doprovod Antona Karase. Noir Film Festival

Heinzi Boesel and Kurt Fellner are two Austrian health inspectors forced to work together, traveling through Austria. Over time a beautiful friendship evolves between the odd couple who couldn't stand each other initially; a friendship that even overcomes the boundaries of great tragedy.

Mezi mladými novickami salzburského kláštera byste těžko hledali někoho méně vhodného pro poslání jeptišky než je Maria (Julie Andrewsová). Vnímavá a činorodá dívka se totiž (přes veškerou snahu) nedokáže vyrovnat se strohou přísností církevního řádu, čarovná krása alpských velehor ji zajímá mnohem víc než klášterní disciplína. Matka představená (Peggy Woodová), moudrá to žena, si naštěstí ví rady a pošle ji jako guvernantku do rodiny ovdovělého námořního kapitána, t.č. ve výslužbě. Úkol, který má Maria před sebou, ale není snadný ani pro někoho tak temperamentního a kurážného jako je ona.

18th century Austria. Villages surrounded by deep forests. A woman is sentenced to death after killing a baby. Agnes is marrying her loved one and candidly prepares herself for a spouse life. Soon after, her head and heart start to feel heavy. Day after day, she is increasingly trapped in a murky and lonely path leading to evil thoughts. Maybe not just thoughts…