Anja Plaschg

In 1750 Austria, a deeply religious woman named Agnes has just married her beloved, but her mind and heart soon grow heavy as her life becomes a long list of chores and expectations. Day after day, she is increasingly trapped in a murky and lonely path leading to evil thoughts, until the possibility of committing a shocking act of violence seems like the only way out of her inner prison.

It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingeborg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus.

Sandra Hüller portrays Ingeborg Bachmann on an imaginary day in Rome. Regina Schilling’s hybrid film weaves together reenactments, archival footage, and Bachmann’s own writings into a portrait that offers a refreshing new perspective on the author and positions her writings as a reference point in current debates on gender relations and power.

A game of paintball turns deadly when three unhinged and deranged ex-soldiers play a twisted mind game of catch and release with their unsuspecting victims. This quickly leads to a bloody man hunt where everyone is a target and no one is safe.

Adam and his mother usually spend Valentine's Day together. This year, he wants to invite her to a drag show where he will play "Dalida", their idol. Will she finally accept his identity?

An unexpected letter forces siblings Bernhard and Lydia to confront each other and to deal with their family history.