DAILY: Day 9, October 25, 2024

In our VIENNALE DAILIES you'll find everything you need to know about what's happening around the festival!

I think that one of the challenges of U.S. filmmaking today is that we’ve kind of entered this space where the idea is that the place of courage in film is in content. But I believe that courageous films are created through form, and I think that that’s something, at least in the American context, that is missing. And so I’m very interested in the kinds of risks and innovation that we can find in a formally disciplined cinema.

(Madeleine Hunt-Ehrlich)

FILMTIPS FOR TODAY

RUMOURS
Guy Maddin, Evan Johnson, Galen Johnson | Canada, Germany 2024 | 108 min | OV w/GER subtitles

Friday, October 25, 12.15 pm: GARTENBAUKINO

The directorial team of Guy Maddin, Evan Johnson and Galen Johnson, known for such hyperbolic screwball melodramas as THE FORBIDDEN ROOM, have returned to thrill and confound audiences in equal measure. At first glance, RUMOURS resembles a more traditional outing, in that it lacks the early-cinema pastiche or molten material effects of the group’s previous efforts. But the conventional veneer quickly falls away. Set at the G7 Summit, RUMOURS strands its seven (plus-one) major characters within an apocalypse these technocrats are ill-equipped to manage. As German chancellor Hilda Orlmann, Cate Blanchett exudes an uptight officiousness that hides a more rebellious streak. Making no effort to disguise his patrician British cadence, Charles Dance portrays the American president as a man ready for the world to end. But it’s Roy Dupuis as Canadian PM Maxime Laplace who (sort of) saves the day by embracing finality and leading his fellow world leaders into the fiery abyss. In depicting global destruction as a political photo-op, the antics contained within RUMOURS only need to be viewed at a slightly different angle for them to resemble social realism. (Michael Sicinski)

AS BOAS MANEIRAS
Juliana Rojas, Marco Dutra | Brasil, France| 2027 | 135 min | OV w/GER subtitles

Friday, October 25, 10.30 pm: STADTKINO IM KÜNSTLERHAUS
Tuesday, October 29, 6.45 pm: FILMMUSEUM

Lycanthropy has inspired some great films and AS BOAS MANEIRAS is no exception. In the city of São Paulo, a 21-year-old woman is pregnant and completely alone. Her material wealth cannot overcome her inexplicable helplessness. As she explains to Clara, who she has hired as a kind of maid, neither her father nor her brothers have called her for her birthday. The relationship between Ana and Clara will become something diferent in a few days: eroticism will displace class asymmetry, to such an extent that when the creature in Ana’s womb enters the world, Clara will be destined to raise it. What follows is a slow journey down the long path of motherhood, in which Clara will try to tame the fierce instinct of her charge. In TRABAJAR CANSA, an indeterminate primitivism was used to explore the miseries of contemporary neo-liberalism in Brazil. Here, the ostensible social context of the film’s first minutes enters a mythical dimension that proves liberating on every single level: the framings, the exquisite art design and cinematographer Rui Poças’ absolute mastery of lighting. São Paulo is transformed into a fantastical city whose arrogant modernity lives side by side with the superstitious and the archaic. (Roger Koza)

In the presence of Juliana Rojas.

Janggun-ui adeul (THE GENERAL'S SON)
Im Kwon-taek | South Korea 1990 | 108 min | OV w/EN subtitles

Friday, October 25, 11.00 am: METRO, HISTORISCHER SAAL
Sunday, October 27 6.45 pm: METRO, ERIC PLESKOW SAAL

By the time Im Kwon-taek directed JANGGUN-UI ADEUL (The General’s Son) in 1990, 18 years—and 40 ﬁlms—had passed since he had last made an action ﬁlm. Having developed a more contemplative aesthetic style that brought him increasing international recognition as one of Korea’s foremost directors, Im’s return to genre with his 93rd feature—and his ﬁrst number one hit—came as a surprise to many. Its subject taps into a form of contemporary Korean folklore surrounding one of the country’s key post-war ﬁgures. Kim Du-han became Korea’s most legendary gangster, in part because his colourful “autobiography”, which celebrated his rise through the street gangs in colonial Seoul’s colourful Jongno district, formed the basis for a constant stream of popular comics and movies; the nation seemingly preferred patriotic myth over historical truth. Im Kwon-taek’s dynamic and entertaining contribution to the gangster subgenre takes its title from the (not undisputed) fact that Du-han’s father was an anarchist general ﬁghting the Japanese occupiers in Manchuria before he was murdered—thereby suggesting that the Korean gangsters at home were freedom ﬁghters of a similar kind. (Gerwin Tamsma)

SOME OF OUR GUESTS TODAY

Mo Harawe
Director of
VILLAGE NEXT TO PARADISE

Pirouz Nemati
Producer of
UNE LANGUE UNIVERSELLE

Fabrizio Ferraro
Director of
DESERT SUITE

Ottavia Fragnito
Producer of
DESERT SUITE

Scott Cummings
Director of
REALM OF SATAN

VIDEO OF THE DAY

All V'24 videos can be found here in a practical overview!

Image of movie Realm Of Satan — REALM OF SATAN

MATERIALS

We invited filmmakers to share with us materials which are documenting the creation of their films and which, in one way or the other, were important in that process: images, paintings or newspaper articles, shotlists, script pages, notes, setphotos, storyboards, quotes, encounters, all kinds of inspirations.

Scott Cummings (REALM OF SATAN) sent us some of his recordings - read everything about it HERE!