Diagonale

Diagonale

Diagonale

DIAGONALE 2018: AN OVERVIEW

By Dennis Vetter

Since 2016 the Diagonale has taken place under the direction of Sebastian Höglinger and Peter Schernhuber, who introduced the “In Referenz” programme as their most striking statement, a rail that should show lines of thought and spaces of possibility between the festival sections. Here, for example, film programmes comment on specific exhibitions, while Austrian productions meet international works or current perspectives meet historical ones. The section embodies a curatorial freedom within the program that is lacking in its consequence at many comparable events. A very welcome enrichment, then! And a call to search for connecting lines with a sharpened view, not to look at cinema in a vacuum, but to question its roots and obligations time and again. 

READ MORE »
Diagonale

DIAGONALE 2017: FESTIVAL OF AUSTRIAN FILM

By Claudia Siefen

At the Diagonale, as in any other venue, I encountered these two camps again: those who consider themselves artists with the clear expectation to be subsidized for it and make films, and those who treat the business as an everyday job. But despite of that I managed to find few works that I’m really happy with, which made their way to cinemas. And galleries.

READ MORE »
Diagonale

FESTIVAL OF THE AUSTRIAN FILM 2016: DIAGONALE

By Claudia Siefen*

Fade-in, fade-out. Do you remember those early cuts, that were made in the camera. This kind of editing could allow for some early special effects. In earlier movies he made at the turn of the century, Georges Méliès for example stops the camera after detonating a magic puff of smoke in front of his actor, then begins the camera again after the actor has left the stage, and has so magically vanished.

READ MORE »