Michael Omasta
critic
Austria
Voted for
| Film | Year | Director |
|---|---|---|
| The Trial (Prozess) | 1984 | Eberhard Fechner |
| NOW | 1965 | Santiago Álvarez |
| Sherlock Jr. | 1924 | Buster Keaton |
| The Intruder | 2004 | Claire Denis |
| Get Out | 2017 | Jordan Peele |
| Sonne halt! | 1959 | Ferry Radax |
| An Angel at My Table | 1990 | Jane Campion |
| Come and See | 1985 | Elem Klimov |
| Nacht singt ihre Lieder | 2003 | Romuald Karmakar |
| The Night of the Hunter | 1955 | Charles Laughton |
Comments
The Trial (Prozess)
The title says it all: Made over a period of eight years, a documentary on the Majdanec War Crime Trial in Dusseldorf, FRG, between 1975 and 1981.
NOW
Five-minute-agit-prop, still up to date.
Sherlock Jr.
A cinematic Robinsonade, the setting: the cinema itself. With each cut, Buster, dreamy projectionist, is transported from one breakneck situation to a new, even more breakneck one.
The Intruder
Inspired by Jean-Luc Nancy's book of the same name, "L'Intrus" tells the story of a man with a heart condition (Michel Subor!) who leaves his previous life behind and sets out on a final journey to the South Seas. Claire Denis' film is as grandiose as it is enigmatic.
Get Out
Black lives matter, white lies splatter: my favorite satirical horror movie.
Sonne halt!
A cornerstone of Austrian film avant-garde: Konrad Bayer as author and performer of a film fragmented in image and sound, immensely lively, abysmal, if you will: typically Viennese in the best sense.
An Angel at My Table
For me, still Campion's most compelling film.
Come and See
"Come and See": The tragic story of a destroyed youth, told through the eyes of a twelve-year-old in Belarus in 1943. A powerful, hyper-realistic film.
Nacht singt ihre Lieder
"Nightsongs". A young couple - played by Anne Ratte-Polle and Frank Giering - in relationship hell. The brilliant adaptation of a stage play by Norwegian playwright Jon Fosse.
The Night of the Hunter
Laughton's only film as a director, James Agee's last screenplay, perhaps Stanley Cortez's most beautiful camerawork, Robert Mitchum's favorite role, and in general: one of the most terrifying and weird masterpieces of the classic Hollywood era.