Oblivion

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Of all the great ballerinas, Tanaquil Le Clercq may have been the most transcendent. With a body unlike any before hers, she mesmerized viewers and choreographers alike. With her elongated, race-horse physique, she became the new prototype for the great George Balanchine. Because of her extraordinary movement and unique personality on stage, she became a muse to two of the greatest choreographers in dance, George Balanchine and Jerome Robbins. She eventually married Balanchine, and Robbins created his famous version of Afternoon of a Faun for her. She had love, fame, adoration, and was the foremost dancer of her day until it suddenly all stopped. At the age of 27, she was struck down by polio and paralyzed. She never danced again. The ballet world has been haunted by her story ever since.

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Starting with a long and lyrical overture, evoking the origins of the Olympic Games in ancient Greece, Riefenstahl covers twenty-one athletic events in the first half of this two-part love letter to the human body and spirit, culminating with the marathon, where Jesse Owens became the first track and field athlete to win four gold medals in a single Olympics.

Olympia Part Two: Festival of Beauty
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Part two of Leni Riefenstahl's monumental examination of the 1938 Olympic Games, the cameras leave the main stadium and venture into the many halls and fields deployed for such sports as fencing, polo, cycling, and the modern pentathlon, which was won by American Glenn Morris.

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When adults are ineffectual, children have to grow up quickly. Ola is 14 and she takes care of her dysfunctional father, autistic brother and a mother who lives apart from them and is mainly heard the phone. Most of all she wants to reunite a family that simply doesn’t work — like a defective TV set. She lives in the hope of bringing her mother back home. Her 13 year old brother Nikodem’s Holy Communion is a pretext for the family to meet up. Ola is entirely responsible for preparing the perfect family celebration. “Communion” reveals the beauty of the rejected, the strength of the weak and the need for change when change seems impossible. This crash course in growing up teaches us that failure is not final. Especially when love is in question.

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Prater
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Prater(de)

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Vienna’s Prater is an amusement park and a desire machine. No mechanical invention, no novel idea or sensational innovation could escape incorporation into the Prater. The diverse story-telling in Ulrike Ottinger’s film “Prater” transforms this place of sensations into a modern cinema of attractions. The Prater’s history from the beginning to the present is told by its protagonists and those who have documented it, including contemporary cinematic images of the Prater, interviews with carnies, commentary by Austrians and visitors from abroad, film quotes, and photographic and written documentary materials. The meaning of the Prater, its status as a place of technological innovation, and its role as a cultural medium are reflected in texts by Elfriede Jelinek, Josef von Sternberg, Erich Kästner and Elias Canetti, as well as in music devoted to this amusement venue throughout the course of its history.

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