Films 2019



Filmstill 53 WARS (53 wojny)

53 Wars (53 wojny)

director: Ewa Bukowska
2018 | Poland | feature film | oes

photo: © Studio Munka

austrian premiere, living environment

After the screening Q&A with Ewa Bukowska, moderated by Gabi Frimberger, festivaldirector. 

War correspondent Witek is away most of the time, and Anka must endure the horrors of war from home. The testimonies Witek passes on to the world feed Anka’s solitude and the catastrophic visions that fill her uneasy mind. And, as it transpires, the border between reality and fantasy is extremely fragile.
In her directorial debut actress Ewa Bukowska based her work on the autobiographical novel by Grażyna Jagielska. The non-linear story, the visual quality of the image, and the character acting of Magdalena Popławska render 53 WARS an evocative psychological drama about experiencing war second-hand: we don’t have to be there for it to have a destructive influence on our lives. (Sandra Hezinová, KVIFF)


Awards: Youth Jury Award – Best Feature Film (Koszalinski Festival), Jantar – Best Actress (Koszalinski Festival).

In cooperation with




Das Versprechen (The Promise)

director: Margarethe von Trotta
1994 | Germany, France, Switzerland | feature film | gv

photo: © Deutsche Kinemathek



A love-affair under extreme conditions.PP_
In the autumn of 1961, a few weeks after the building of the Berlin Wall, a school group tries to escape from East Berlin to the West. Quite by chance, Sophie and Konrad are separated; Sophie reaches the West, and Konrad is left behind in the Eastern half of the city. During the next 28 years, the two lovers live together, but alone, and under radically different living conditions. They only get to see each other again on four occasions. The film tells of Sophie and Konrad’s alienation, but also of how they defend their love against the force of circumstances. When the Wall is finally opened, the couple’s story could now really begin. Will their love be able to assert itself against the years of separation? (German films Service & Marketing GmbH)


Award: Bavarian film award for best directing.



Filmstill DAS WEISSE BAND – Eine deutsche Kindergeschichte

Das weisse Band – Eine deutsche Kindergeschichte (The white Ribbon)

director: Michael Haneke
2009 | A / G / F / I | feature film | gv

photo: © Films du Losange


After the screening Q&A with Kimber Lee Jerrett and Katrin Huber (prop master), moderated by Ursula Wolschlager, producer. 

A village in Protestant northern Germany. 1913-1914. On the eve of World War I. The story of the children and teenagers of a choir run by the village schoolteacher, and their families: the baron, the steward, the pastor, the doctor, the midwife, the tenant farmers. Strange accidents occur and gradually take on the character of a punishment ritual. Who is behind it all? (Festival de Cannes)


Awards: the film received many international rewards, among others the Golden Palm at the filmfestival in Cannes 2009 and the Golden Globe 2010 for „best foreign-language film“.




Die abhandene Welt (The Misplaced World)

director: Margarethe von Trotta
2015 | Germany | feature film | gv

photo: © Concorde Filmverleih



By chance Paul Kromberger discovers on the internet a photograph of the US opera diva Caterina Fabiani who is the spitting image of Evelyn, his dead wife. His unease and growing sense of alarm are transferred to his daughter, Sophie. Filled with curiosity, she leaves Germany and journeys across the Atlantic to make contact with this stranger. At their first meeting Caterina is dismissive and unprepared to impart any information about herself or her family. But, little by little, secrets which have been hidden for decades deep in the hearts of the older generation come to light.

With DIE ABHANDENE WELT Margarethe von Trotta returns to the theme of sisters which she already explored in her internationally noted films SISTERS, OR THE BALANCE OF HAPPINESS and DIE BLEIERNE ZEIT. With emotional verve the film tells of a sudden and unexpected invasion of the past into the present, of suppressed fear and guilt, of a new self-confidence and how acknowledging the truth can free both the body and the soul. A roller-coaster of emotions with an uncertain outcome. (Berlinale 2015)




Die bleierne Zeit (The German Sisters)

director: Margarethe von Trotta
1981 | Germany | feature film | gv

photo: © Studio Canal


After the screening Q&A with Margarethe von Trotta, moderated by Renata Schmidtkunz, Ö1. 

Juliane (Jutta Lampe) and Marianne (Barbara Sukowa) were brought up in a strict and conservative pastor´s family. Later, both sisters are engaged in the protest movement in 1968, but in very different ways: Juliane is a journalist and Marianne a terrorist. When Marianne is jailed, Juliane feels obligated to help her despite their differing views on how to live.

With her movie The german sisters, Margarethe von Trotta follows the tracks of Christiane and Gudrun Ensslin.


Awards (selection): Goldener Löwe (Filmfestival Venedig 1981), Goldener Phönix – Beste Darstellerinnen (Filmfestival Venedig 1981), Goldener Hugo (Chicago IFF 1981).




Die Börsenkoenigin (The Queen of the Stock Exchange)

director: Edmund Edel
1918 | Germany | silent film | silent

photo: © Filmmuseum Berlin, Stiftung Deutsche Kinemathek

living environment

After the screening Q&A with Susanna Gartmayer und Verena Zeiner, moderated by Gabi Frimberger, festivaldirector. 

As a mine owner, Helen (Asta Nielsen) masters the stock market and its share traders. Together with her administrator, she is heading towards a successful future of her business, unlike her love life.

The movie will be accompanied by two musicians, Susanna Gartmayer (contra-alto clarinet) and Verena Zeiner (keyboard instruments) from FRAUFELD.

In cooperation with



Geschlechterkonstruktionen in kurzen Formaten

director: Div. RegisseurInnen
2017/18/19 | Austria | short | various languages

photo: ©


FrauenFilmTage and the Academy of fine Arts Vienna declare the winners of the Short Film Contest on “Forms of Relationships / Love Affairs / Sexuality”.

The program shows the examination of this topic with visual forms of expression and consists of videos from first semesters to graduates.

The price money of Euro 1.000 is sponsored by Verwertungsgesellschaft der Filmschaffenden (VdFS).

  • Durres or die
    Nina Kerschbaumer, 05:53 Min.
    Laura Ettel & Helen Lanwehr, 13:00 Min.
  • Render Jelly
    Katrin Euller, 07:16 Min.
  • Only Two Words
    Masha Godovannaya, 9:49 Min.
  • Kabadyi (Die Tage werden besser)
    Esra Özmen, 03:30 Min.
  • Mensch Maschine Or Putting Parts Together
    Adina Camhy, 07:50 Min.
  • Weißer Rahmen
    Yela An, 04:04 Min.
  • Gaze
    Magdalena Fischer, Franziska Kabisch, Sophie Utikal, 04:32 Min.
  • Trenzación
    Verena Melgarejo Weinandt & Maque Pereyra, 08:13 Min.

Free admission!

In cooperation with




Hannah Arendt

director: Margarethe von Trotta
2012 | Germany | feature film | gv

photo: © Zeitgeist Films



A look at the life of philosopher and political theorist Hannah Arendt (Barbara Sukowa), who reported for The New Yorker on the war crimes trial of the Nazi Adolf Eichmann.

After intensive research, Margarethe von Trotta honored the great philosopher and thinker Hannah Arendt.


Awards: Silver Spike – Best Film (Valladolid International Film Festival), Goldener Filmpreis – Best female leading role (Deutscher Filmpreis), Silberner Filmpreis – Best feature film (Deutscher Filmpreis).




Kinder unter Deck

director: Bettina Henkel
2018 | Austria | documentary | gv

photo: © FreibeuterFilm

vienniese premiere, identity

After the screening Q&A with Bettina Henkel, moderated by Karin Schiefer, AFC. 

The film is the personal story of three generations: the (late) grandmother, the father and the daughter, who is directing the film. It focuses on the trans-generational transfer of traumatic experiences. It’s a spiritual road movie through deep and diffuse layers of feelings resulting from historical transformations in north-eastern Europe. (FilmFond Wien)


Award: Horizonte Award (Five Lakes Film Festival).



Filmstill L‘ANIMALE


director: Katharina Mückstein
2018 | Austria | feature film | gv

photo: © polyfilm


After the screening Q&A with Kimber Lee Jerrett und Michael Schindegger (camera), moderated by Karin Schiefer, AFC. 

Who do we think we are – and who could we become?

Mati and her boy gang on their tuned motocross bikes are the terror of their village and make life difficult for all the girls. But when Sebastian, the leader of the pack, falls in love with Mati and she becomes friends with Carla, one of the victims of their needling, Mati runs the risk of losing her place with the boys. At the same time, a deeply hidden secret stands between Mati’s parents, and the two of them must decide: What counts for more, seeming or being?

L’Animale is a film about the contradicting forces wthin us: passion, desire, reason. (


Auszeichnungen: Best Film (Seoul International Women’s Film Festival), Best Film (Zürich Film Festival), Actor’s Award (Diagonale).



Filmstill LATIFA, A FIGHTING HEART (Latifa, le Coeur au combat)

Latifa, a fighting heart (Latifa, le coeur au combat)

director: Cyril Brody, Olivier Peyon
2017 | France | documentary | oes

photo: © Cinephil

austrian premiere, living environment

Im Anschluss moderiert Barbara Wagner (Amnesty International) ein Gespräch über Radikalisierung als pädagogische Herausforderung mit Mag.a Verena Fabris (Leitung Beratungsstelle Extremismus) und einer Vertreterin von Frauen ohne Grenzen (angefragt).  

In 2012, Latifa Ibn Ziaten lost her son during the terrorist attack in Toulouse. Since then, the Muslim woman with Moroccan roots has travelled across France as a peace activist seeking conversation with the neglected youth of the banlieues. Driven by the desire to prevent further attacks, she embraces all forms of hatred with love and tolerance, and encourages adolescents to believe in themselves and their opportunities, despite all the difficulties they face.

LATIFA – LE COEUR AU COMBAT is the touching portrait of an incredibly strong woman who has turned her grief into activism. Over the course of a year we follow her on her mission, and are confronted with the French youth and the ever-accompanying issues of identity, integration, racism and Islam. (Zurich Film Festival)

In cooperation with




Madeline’s Madeline

director: Josephine Decker
2018 | USA | feature film | ov

photo: © visit films

austrian premiere, identity


Sometimes Madeline (Helena Howard) is a cat, sometimes a turtle. But even when she’s Madeline, it’s hard to tell if she’s just playing the role of Madeline. In the eyes of her anxious mother (Miranda July), she is a vulnerable creature whose obvious mental disorder requires care and medical treatment. But on stage, at the theatre workshop run by the extremely demanding, sometimes even reckless Evangeline (Molly Parker), Madeline is strong, impressive – a force of nature. (Berlinale 2018)_


Awards: Student Jury Award (Champs-Élysées Film Festival), Special Jury Price – Narrative Feature (Dallas IFF), Future/Now – Special Jury Price (Montclaire Film Festival), Special Jury Price – Narrative Feature (Sarasota Film Festival).



Filmstill DAUGHTER OF MINE (Figlia Mia)

Meine Tochter (Figlia Mia / Daughter of Mine)

director: Laura Bispuri
2018 | Italy / Germany / Switzerland | feature film | oes

photo: © Match Factory Productions

austrian premiere, friendship


Ten-year-old Vittoria (Sara Casu) is growing up in a Sardinian village untouched by tourism. One day at a rodeo she meets the impetuous Angelica (Alba Rohrwacher), who is completely different to her own caring mother Tina (Valeria Golino). Vittoria does not suspect that the two women are connected by a secret. Captivated by this fearless, independent woman, Vittoria begins rediscovering the island with her. (Berlinale 2018)


Awards: Golden Anchor Award at the International filmfestival in Haifa, Competition for the Goldener Bär Berlinale 2018.



Filmstill PANOPTIC


director: Rana Eid
2018 | Lebanon | documentary | oes

photo: © mec film

austrian premiere, living environment


I am talking about a whole military system that is controlling the country without really accusing it of anything. It was only my own memories and traumas.(Rana Eid in: Emirates Woman)

Panoptic is a letter from a daughter to her deceased father in an attempt to reconcile with her country’s turbulent past. Panoptic delves into Beirut’s underground to explore Lebanon’s schizophrenia: a nation that thrives for modernity while ironically ignoring the vices that obstruct achieving this modernity. While the Lebanese population has chosen to turn a blind eye to these vices, Rana Eid, an ordinary citizen, explores the nation’s paradoxes through sound, iconic monuments and secret hidings.

Eid shows the importance of Sound by adapting the rhythm of pictures. This way she creates a poetic style of storytelling beyond typical narratives. “For me, sound is the identity of the image, and the soundtrack of this film is its identity.(Rana Eid in: Variety)




Rosa Luxemburg

director: Margarethe von Trotta
1986 | Germany | feature film | gv

photo: © Studio Canal



With her film ROSA LUXEMBURG, Margarethe von Trotta honored the fierce woman, who fought for her beliefs, to the extent of risking her own life. The movie will be shown as part of our “Tribute to Margarethe von Trotta”, commemorating the 100th anniversary of Rosa Luxemburg’s death.


Awards: Best female leading role (Cannes Film Festival), Best feature film (Deutscher Filmpreis), Best female leading role (Deutscher Filmpreis).




Sie ist der andere Blick (She is the other gaze)

director: Christiana Perschon
2018 | Austria | documentary | gv

photo: © filmgarten, Christiana Perschon

artists, working environment

After the screening Q&A with Christiana Perschon, moderated by Sabine Perthold, cultural manager. 

Christiana Perschon’s documentary SHE IS THE OTHER GAZE presents a series of interviews with five female visual artists: Renate Bertlmann, Linda Christanell, Lore Heuermann, Karin Mack, Margot Pilz. Most of these artists started their careers in the 1970s, in Vienna, and the film explores the relation between their practice and feminism. As we see them working, performing in front of the camera or commenting on some of their pieces, they recall the difficulties, constraints and resistances encountered at the beginning of their paths. She is the other gaze has a unified tone (minimalist, drenched in white, without music), while building each segment as a particular collaboration between the artist and the filmmaker, in an intergenerational dialogue whose traces are visible on screen. Equally, each one of the artists featured has a unique approach, a specific artistic vision, but their trajectories have all been informed, in one way or another, by women’s issues: the fight against patriarchal structures, the lack of visibility, an intimate relation to the objects of everyday domesticity, the difficulties in negotiating family life and artistic ambitions. (Cristina Álvarez López, Viennale ’18)



Filmstill THE CHAMBERMAID (La Camarista)

The Chambermaid (La Camarista)

director: Lila Avilés
2018 | Mexico | feature film | oes

photo: © Alpha Violet

austrian premiere, working environment


Eve, a young chambermaid at a luxurious Mexico City hotel, confronts the monotony of long workdays with quiet examinations of forgotten belongings and budding friendships that nourish her newfound and determined dream for a better life. Long, laborious shifts prevent Eve from caring for her child while she helps guests with their own children, but she believes her situation will improve if she gets promoted to work at executive-level suites, for which she accepts a grueling schedule. In keeping with this goal, she also enrolls in the hotel’s adult education program. When things don’t result as planned, Eve transforms her lonely explorations and newfound courage into the necessary strength to face a life outside the glimmering tower.


Awards: Jury Prize (Marrakech International Film Festival), Special Jury Award (La Habana Film Festival), Ojo – Mexican Feature Film (Morelia International Film Festival), Best Feature Film & FIPRESCI Award (Minsk International Film Festival), Honorable Mention – best ibero-american film (Palm Springs IFF)

In cooperation with



Filmstill THE HEART (Hjärtat)

The Heart (Hjärtat)

director: Fanni Metelius
2018 | Sweden | feature film | oes

photo: © m-appeal

vienniese premiere, friendship


“If you love me, then fuck me!”

Mika and Tesfay. She: a photographer. He: a musician. Both up-and-coming. The first love. But an invisible conflict, an unnamable shame, stirs between their sheets. An insidious power game is in play, with its rules changing like music beats at the parties in Gothenburg, Stockholm and Ibiza. Behind closed doors and beautifying filters lies a raw reality where Mika’s control over her mind and body is at stake. In her debut feature film, actress, director and auteur Fanni Metelius rips apart relationship prejudices and explores what really makes our pulses quicken in matters of the modern heart.




The Third Wife

director: Ash Mayfair
2018 | Vietnam | feature film | oes

photo: © Mayfair Pictures

austrian premiere, opening feature


In the late 19th century in rural Vietnam, fourteen-year-old May (Nguyen Phuong Tra My) is given away in an arranged marriage and becomes the third wife to her older husband. May learns that she can gain status and security if she gives birth to a male child. This becomes a real possibility when she gets pregnant. As May observes the unfolding tragedy of forbidden love and its devastating consequences, she must make a choice, to either carry on in silence and safety, or forge a way towards personal freedom._


Awards: Best Artistic Contribution (Cairo IFF), Gold Hugo (New Directors Competition, Chicago IFF), TVE Otra Mirada Award (San Sebastián IFF), NETPAC Award (Toronto IFF).



Filmstill TWIN FLOWER (Fiore Gemello)

Twin Flower (Fiore Gemello)

director: Laura Luchetti
2018 | Italy | feature film | oes

photo: © Fandango

austrian premiere, friendship

After the screening Q&A with Laura Luchetti, moderated by Gabi Frimberger, festivaldirector. 

TWIN FLOWER is the dark tale of two teens abused and damaged by life, who together, try to regain their lost innocence.

Sixteen year old Anna is on the run, escaping from a violent event that traumatized her. Because of what has happened to her she has lost her voice. On the road she is rescued by Basim, a sixteen year old illegal immigrant from Ivory Coast. Together they embark on a perilous journey through the deserted lands, woods, villages and breathtaking landscapes of Sardinia. (Fandango)

A charming road movie about deep friendship, featuring strong images and remarkable acting by the two leading actors. Luchetti says, when she found them, the film came into existance. The script is loosely based on Basim’s (Kallil’s) true story (¨A look in his eyes that speaks of the horrors he went through, and, at the same time, shows the innocence of a regular kid his age.”) and also Anastasya’s personality flows into Anna’s character.


Awards: Discovery Honourable Mention (TIFF Festival Toronto), Antigone d’or for best film (Cinemed – Festival Cinema Mediteranéen Montpellier), Audience Award (Madrid Italian Film Festival), Amicular de Jury Jeunes (Villerupt Italian Film Festival).




Von Bienen und Blumen (The Bees and the Birds)

director: Lola Randl
2018 | Germany | documentary | gv

photo: © Lola Randl

austrian premiere, living with nature

After the screening Q&A with Lola Randl, moderated by Gabi Frimberger, festivaldirector. 

When urban neo romantics move to the countryside in order to experience the simple life, not everything might end up as they thought it would. Director Lola Randl creates space for Adventure, Utopia, Fun and Love. With her Family, she herself moved from Berlin to Uckermark to live an idyllic rural lifestyle. Many people followed her since. Both behind and in front of the camera, Lola Randl is questioning the definition of Work and Love on the countryside.



Filmstill WITH THE WIND (Le vent tourne)

With The Wind (Le vent tourne)

director: Bettina Oberli
2018 | Switzerland | feature film | oes

photo: © Niels Ackermann

austrian premiere, living with nature


¨Capitalism has destroyed everything¨

Pauline (Mélanie Thierry) and Alex (Pierre Deladonchamps) are young farmers, producing their own goods far from the modern world. When Samuel (Nuno Lopes) arrives to install a wind turbine on the farm, Paulines values and her love for Alex are put to the test.

Bettina Oberli not only asks how we treat nature and where capitalism is leading us, but also about the beliefs and needs of the individuals.


Awards: Variety Piazza Grande Award (Locarno International Film Festival).



Filmstill WORKING WOMAN (Isha Ovedet)

Working Woman (Isha Ovedet)

director: Michal Aviad
2018 | Israel | feature film | oes

photo: © Vered Adir

austrian premiere, working environment


Hardworking, talented and ambitious, Orna (Liron Ben Shlush) …. at her new job. But life at work becomes unbearable for Orna. Her boss appreciates and promotes her, while making inappropriate advances. Her husband Ofer (Oshri Cohen) struggles to keep his new restaurant afloat, and Orna becomes the main breadwinner for their three children. When her world is finally shattered, she must pull herself together to fight, in her own way, for her job and a sense of self-worth.

In cooperation with




Yours in Sisterhood

director: Irene Lusztig
2018 | USA | documentary | ogs

photo: © Irene Lusztig

austrian premiere, living environment


¨There is more than one way to be a feminist¨

A petrol station at an Atlanta intersection. A private estate in Bowling Green, Kentucky, complete with a perfect lawn. The front yard of a family home in Connecticut. At first glance, the places Irene Lusztig chose to visit on her two-year journey through the United States seem unremarkable. At each stop, Lusztig had local women read out and comment on letters from the archive of liberal feminist magazine “Ms.”. These letters were originally sent around 40 years ago in response to articles in the magazine, serving also as outlets for their writers, mainly women, to share their personal stories – with intimacy and candour, at times full of relief, at other rage. The letters recount experiences of abortions or lesbian affairs with married women and rail against the magazine’s ignorance of what real life meant for black women.

Irene Lusztig’s documentary set-up succeeds in bringing a wealth of experiences from an earlier generation of the feminist movement into a complex dialogue with the present. The written word only appears to be at the fore, beyond it, there lies a whole universe of feminism for the viewer to discover, which Yours in Sisterhood makes accessible on many levels. (Berlinale)

7 // JS zum Filtern (hervorheben, anzeigen)