The Japanese film House – usually referred to as Hausu, mostly thanks to the mystery of back-and-forth transliteration even though its writer-director had deliberately chosen a foreign-language title to add a taboo-breaking frisson – has become a major cult item in the West over the course of the last decade after being rescreened at festivals in the late 2000s and subsequently published by such prestigious DVD companies as Criterion and Masters of Cinema.
Jurij Meden (Head of Film Programming at the Austrian Film Museum) on the current crisis
Andrey Arnold talks to Iris Elezi about Xhenfise Keko
Deborah Stratman uses the technology of film as a jet pack which allows us to call into question the cast-iron laws by which we as humans define ourselves, our history, the present world we live in and thus our potentials. Alejandro Bachmann writes about her work.
Friederike Horstmann schreibt über love-Dinge, Gestolpere und den Überschuss des 1980er-Kinos anhand von Love Streams von John Cassavetes. Der Text ist Teil unserer Publikation “The Real Eighties”.
What can the neglected parts of Rainer Werner Fassbinder’s œuvre – his radio plays and his theater films made for television – tell us about his work?
On the day the joint retrospective of the Austrian Film Museum and the Viennale started Patrick Holzapfel sat down with curators Naum Kleiman and Artiom Sopin to discuss their curatorial approach and some highlights of the retrospective. In the middle…
Famous for his great film noir work in Hollywood, Robert Siodmak may be the most intriguing of the many exile filmmakers who fled from the Nazi regime and established a career in the US. Our recent Weimar retrospective showcased some examples of his astonishing early work in Germany–one official classic, his equally remarkable follow-up film (with yet another alternative surprise ending!) and one stunning item that had been considered lost. Now that it has been “rediscovered”, Emil Jannings will never be the same.
I am not a big fan of Federico Fellini, but I have to admit his episode from the Edgar Allen Poe omnibus Histoires extraordinaires (Spirits of the Dead, 1968) is truly extraordinary. Probably because his penchant for the grotesque does not seem misplaced in the world of horror fantasy (replete with Mario Bava quote). Then, there’s Terence Stamp’s bravura performance. And it even has a donkey.