sixpackfilm

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.

The accomplishments of four handicapped ten-year-olds are recorded on camera. Their determination to do and create is obvious in each action.

Aino is celebrating her bachelorette party. Toni, who was once briefly with Aino, works at the gas station. Lolly has moved away, but always has sex with Aino's mother whenever she returns to her hometown.

The Life of Sean DeLear is a vibrantly multi-faceted, buoyantly propulsive documentary portrait of this irresistibly charismatic one-off — sketched in celebratory but commendably clear-eyed style by writer-director Markus Zizenbacher. There can be very few people better qualified to do justice to this particular tale. Zizenbacher befriended DeLear — born Anthony Robertson in Simi Valley, an obscure California backwater — after the latter relocated to Vienna in the early 2010s.

A man rescues a boy and later tries to get him off his back but to little avail, so they end up drifting around a subterranean world, populated by grotesque masked figures. A hundred years after Chaplin filmed his first feature film, The Kid, Norbert Pfaffenbichler offers an experimental punk-style interpretation, which the filmmaker himself has defined as a dystopian slapstick film.

In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.

Every encounter with an image, every interaction searches for its own form. She is the other gaze is a collaboration with five female visual artists of an older generation who have been part of the Viennese art scene since the 1970s and engaged in the women's movement. In dialogue with the filmmaker Renate Bertlmann, Linda Christanell, Lore Heuermann, Karin Mack and Margot Pilz share their early works and artistic practices. They remember how their self-determination evolved between artistic ambitions, economic constraints, adaptation and resistance to the prevailing patriarchal social structures. In their role as feminist pioneers, the protagonists are a great influence on the contemporary art scene and the self-understanding of younger artists today. With their voices and narratives, they become collaborators passing on feminist thinking and artistic experiences.

Elena Wolff submerges into the turbulent world of the young, up-and-coming art scene of Linz. In a series of episodes, Asche tells of three couples and an outsider, of alpha males and muses, of loneliness, and the urge for self-realization. In doing so, this pop satire of the art world exercises a high-volume criticism of both patriarchy and the cultural scene—including unexpected vendettas and bizarre encounters.

Bergmanesque ghosts appear at the bedside of Edward Weki, a 75-year-old Sudanese man suffering from the final stage of Parkinson’s: Alma, the nurse of Ingmar Bergman’s film Persona, and a female version of Death from his The Seventh Seal help the old man recover lost memories of his life on the island of Farö.

Inside a museum, nowadays. A diorama represents two young soldiers in the trenches. All of a sudden, we are thrown into the diorama: the immobile soldiers come to life, there is terror on their faces – the camera dances around them – explosions, chaos, fog: everything flies about in the air. With every gunshot, they shudder and curl up

The film "Into the Emptiness" describes an example of the ritual game of "serfdom" in a "studio for bizarre eroticism". This game comprises a masochistic phantasy in which theguest assumes the role of an obedient slave and servant while the woman employed by the "studio" plays a domina who rules and punishes without mercy.

A few hours in the life of empress Sisi; a summer night at Gödöllö. A game with operetta and melodrama; a grotesque with much colour, music, dancing, and bloodshed.

Composed of 28 static-camera scenes from everyday (occupied)-Tibetan life, each picture (without narration) a "narrative" lasting several minutes, these 28 views explore the contradictions between the traditional way of life and modernism's obvious invasion of Tibet.

Anton and Franz live together since the beginnings of 20th century. They talk about their difficulties of being vampires, since their first bite in 1938. Their inconsistent arguments recall those of normal human beings. And history repeat itself. As if that were not enough, they also doesn`t really like each other much.

Billy Roisz taps into our sensual pleasures with this experimental interpretation of Hieronymus Bosch’s iconic triptych The Garden of Earthly Delights. The largely abstract landscape, stemming from both analogue equipment and ‘deep dreaming’ – a generative AI technique based on neural networks – ranges from paradisiacal to hellish. Combined with the chirping, ticking and pounding soundtrack, in which field recordings have also been incorporated, the temptation is almost impossible to resist.

The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.

There are no taboos in the grotesque underground realm of Pfaffenbichler’s 2551 movies, which cross all borders, especially those of good taste. Reviving the original punk spirit of true independent filmmaking, Pfaffenbichler and his ingenious collaborators have concocted another marvel of no-budget ingenuity.

Idylls in which irritations emerge: Richard Wilhelmer's Strange Love (produced at the California Institute of the Arts) shows us this, implying an agreement with us that it's now normal to see irritations in idyllic vistas, always and everywhere. A clouded idyll is now a familiar, welcome, easily readable, idyllic image. So, one never knows for sure.

The day came to a lonesome night / It lasted for such a short time / Does it stop / Love lasts or it doesn't / "Tu veux ou tu veux pas"

Russian-born director Aleksey Lapin travels back to his relatives’ home village near the Ukrainian border, where he himself used to spend every summer. The film crew introduce themselves at a specially organized musical event, claiming that they have come to cast a historical film that is to be set in the village. What follows is a charming, semi-fictional documentary by and with the village community.