Achmed Abdel-Salam

SOKO Donau is an Austrian television series.

In a future where technology feels more human than ever, people confront love, loss, and identity as the boundaries between man and machine disappear.

After her father's death, Michi tries to repair her broken relationship with her young daughter in her parents' rural home. But the recently sober alcoholic is caught up in the shadows of her past, putting even her child in danger.

Puppets! Pixels! Anime! Live action! Stock footage! Lumpennerd Johannes Grenzfurthner gives an ideotaining cinematic revue about important political concepts. Everyone is talking about freedom! Privacy! Identity! Resistance! The Market! The Left! But, yikes, Johannes can't tolerate ignorant and topically abusive comments on the "Internet" anymore! Supported by writer Ishan Raval, in this film, Johannes explains, re-evaluates, and sometimes sacrifices political golden calves of discourse. Not to be used with false consciousness or silicone-based lubricant.

A young couple in love spontaneously get involved in an underground play in a dark cellar that is billed as "particularly bad". As expected, the play begins "artistically valuable" - the audience is rather bored, some filming along with amusement. However, the mood changes abruptly when Manfred Amour, the play's car, enters the cellar.

A thirtysomething couple invites another couple to dinner in the suburban pad to which they’ve recently moved. Complications ensue. The less you know about this unsettling chamber-piece drama, the better. Suffice it to say, it deftly and deliciously wrongfoots the audience all the way to its enigmatic finale. The pieces of the film’s carefully constructed jigsaw puzzle elegantly slot together; even then, everyone will see a slightly different picture.

When fear no longer exists, Bobby is here to provide you with some primal instinct. In a our real world, which is always in turmoil, we take drugs to gain relief and peace. But in this fictional world of total peace, we take drugs to experience turmoil, so we can be more human again.

Smother is an Austrian horror film about generational trauma. Michi (Cornelia Ivancan) is dealing with the death of her estranged father. In an attempt to repair the relationship between herself and her daughter Hanna (Lola Herbst), Michi decides the two should stay at her recently deceased dad’s isolated countryside home. While there, the two are forced to confront literal demons from the past.

When the narcissistic Adam meets the unpretentious Esra, he imagines he has to win her over. His superficiality quickly becomes a problem. Little by little, the painstakingly constructed facade crumbles.