Ulrich Seidl

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This cinematic portrait shows the Austrian filmmaker Ulrich Seidl at work. The much-discussed ‘Seidl method’ is conveyed here vividly and directly: The camera watches over Seidl’s shoulder during the filming of his new production IM KELLER, and observes him at the rehearsals for his latest theatre production ‘Böse Buben / Fiese Männer’. The film paints the picture of a fascinating and exceptional artist using a combination of extensive interviews and excerpts from earlier works.

On the beaches of Kenya they’re known as "Sugar Mamas" —European women who seek out African boys selling love to earn a living. Teresa, a 50-year-old Austrian and mother of a daughter entering puberty, travels to this vacation paradise, moving from beach to beach.

In the heat of the summer lays a lonesome house in the countryside where nine year old twin brothers await their mother’s return. When she comes home, bandaged after cosmetic surgery, nothing is like before and the children start to doubt whether this woman is actually who she says she is.

This historical and analytical documentary draws attention to the background of the roots of "New Austrian Cinema" and presents Austria as a film country to be taken seriously. The audience gets to see rare early works by well-known filmmakers as well as shots of landscapes that served as a source of inspiration and locations that have produced important Austrian films since the end of the 19th century.

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.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

Vignettes of the lives of several residents of a Vienna suburb during a heat wave.

Ewald moved to Romania years ago. Now in his 40s, he seeks a fresh start. Leaving his girlfriend, he moves to the hinterland. With young boys from the area, he transforms a decaying school into a fortress. The children enjoy a new, carefree existence. But the distrust of the villagers is soon awoken. And Ewald is forced to confront a truth he has long suppressed.

Vienna, Austria, 1910. The young painter Egon Schiele is a rising artist, provocative and free, whose work, characterized by eroticism, shocks as much as it fascinates art lovers.

In conurbations where hundreds of thousands live alongside one another, in the era of a highly technological society, in which communication has never played such a significant role, man has become lonely. Disappointed by his fellow human beings, he turns to animals. Dogs and other domestic animals serve him as companions, life partners, cuddly objects and bedfellows.

Johannes, an innocent, Kaspar Hauser-like man with the heart of a child, lives secluded in an alpine hut together with his eagle and his devout mother. Daily life in this isolated world is governed by prayer and ritual. But suddenly, modern objects and disruptive noises intrude between nature and worship. A tourist development threatens to poison their paradise and awaken the devil.

For Anna Maria, paradise lies with Jesus, and she devotes her time to door-to-door missionary work. One day after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, comes home—and soon prayers are replaced by fighting.

Young women, Austrian style. Yesmin is Kurdish and wears a headscarf. She shoots a cheeky burqa video with Bella and Nati which makes the trio famous in the Muslim community. Controversy and alienation ensue. Immediate, exuberantly introverted cinema.

Laleh, a journalist from Paris, finds herself caught in the crossfire in Iraq when ISIS suddenly invades the country. As she flees, she encounters other refugees, Iraqi families and children, as well as former U.S. soldiers and Kurdish freedom fighters.

In Rimini (2022) and Sparta (2022), Ulrich Seidl followed the lives of two brothers, Richie and Ewald, respectively. The former is a crooner long past his prime yet still beloved by hordes of late-middle-aged female fans who can also buy his sexual attention; the latter is a technician living in Romania and wrestling with his pedophile desires. These two tales were supposed to be told in one film – and now they finally are! The result offers a staggeringly different experience of the narrative(s). It's far more cerebral, above all a work of ideas.

A staged TV portrait of the Austrian cartoonist Gerhard Haderer; and first collaboration with Maria Hofstätter.

Main character of this movie is Rene Rupnik, a former math teacher. He is forty years old and lives together with his mother in a desolate block of flats. Ever since his early youth women with big breasts have fascinated him, because they symbolise a kind of earth mother to him. He has never had an especially close relationship with his own mother; she was too 'bony' for him. Object of Rene's fantasy is the actress Senta Berger, to him everything a woman should be. Standing by the blackboard and explaining the mathematical laws of sine and cosine ('sinus' is bosom in Latin), Rene sings the praises of the female curves and those of Santa Berger in particular. Filmmaker Ulrich Seidl let the former teacher speak freely about his obsessions and desires, intercutting his monologues with scenes from the protagonist's day-to-day life.

Journalist Carl Schwert (55) has always been interested in disaster. He has travelled to dark tourism destinations, meeting people who spend their spare time visiting prisons where captives were tortured, disaster zones, genocide memorial sites and slums. In between research trips he lives with his wife Sabine (38) in Vienna. She no longer leaves the house for fear of infection. Gradually, Schwert loses touch with reality and his life becomes increasingly unhinged.