FIRST HIGHLIGHTS OF VIENNALE 2015OCTOBER 22—NOVEMBER 5

PREVIEW PRESS CONFERENCE

Vienna, August 21, 2015

Dear Ladies and Gentlemen,

we welcome the opportunity to inform you about the current state of preparations for the Viennale 2015. This year’s festival will take place from October 22 to November 5.

With the enclosed press information we would like to give you an initial preview, and inform you about some of the highlights of the 53rd Viennale. In addition, we would like to introduce to you the festival’s postersubjects and the retrospective.

You can visit our website www.viennale.at, where you'll find updated information; you can download press information and photos at www.viennale.at/de/presse/download.

If you have any further questions, please don’t hesistate to contact us.

With kind regards,The Viennale press team

press@viennale.atFredi Themel 01/526 59 47-30Birgit Ecker 01/526 59 47-33Doris Hochrieser 01/526 59 47-20

Accreditation, from August 24:Doris Hochrieser 01/526 59 47-20akkreditierung@viennale.at(Accreditation requests until October 2)

Viennale Vienna International Film FestivalSiebensterngasse 21070 Vienna

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VIENNALE 2015OKTOBER 22 TO NOVEMBER 5

VIENNALE 2015School of Seeing

MAIN PROGRAM OF THE VIENNALE 2015Feature FilmsDocumentaries

CHOREOGRAPHY OF DESIREA Tribute to Tippi Hedren

THE MAN FROM ITUZAINGÓRaúl Perrone – The Last of the Independents

HOW GREEN WAS MY VALLEYManoel de Oliveira – Remembered by Pedro Costa

TALES OF A USEFUL LIFEUruguayan Filmmaker Federico Veiroj

RETROSPECTIVEANIMALS – A Small Zoology of Cinema

VIENNALE 2015

School of Seeing

The special and beautiful thing about a festival like the Viennale is the fact that it provides distraction and con-centration at the same time: Distraction in its program diversity, in its extensive offer, and in the fact that numer-ous events occur simultaneously. Concentration in the individual, selected work, in the specific cinematic form,and in the densified programs. It is this contradiction that constitutes a film festival. The contrast between themultiple and the single without it being arbitrary. Without one having to commit oneself to either cinematic spe-cialization or filmic event culture. Year after year, it is up to curious and critical audiences to decide whether theViennale can meet these aspirations.

Above all, the Viennale strives to be a “school of seeing.” Not a school in the sense of a didactic institution, ofinstruction and education, but rather in the sense of a laboratory, of exploration and discovery, of experienceand astonishment. A school of seeing and cognition.

Main Program of the Viennale 2015The greater the offer of films becomes year after year, the more important the selection that a festival presents is.In the case of the Viennale, this selection comprises about 150 current feature films, a series of short films andseveral special programs. And yet this extensive range is only a fraction of the vast worldwide production.

As in previous years, the Viennale’s main program presents an almost equal number of narrative films anddocumentaries, including many cross-boundary and hybrid works that oscillate in between. Because the Viennaleneither occupies a competitive position nor commits itself to any cinematic specialization, it has the privilege offree and open programming.

Therefore, this year’s program again features well-known names of international cinema, such as Nanni Moretti,Hou Hsiao-Hsien, Woody Allen, Michael Almereyda and Miguel Gomes, alongside numerous young and yet-undis-

NIE YIN NIANGHou Hsiao-Hsien, Taiwain/China/Hongkong/F 2015

JACOPaul Marchand, Stephen Kijak, USA 2014

ME AND EARL AND THE DYING GIRLAlfonso Gomez-Rejon, USA 2014

L’ASTRAGALEBrigitte Sy, F 2014

MIA MADRENanni Moretti, I 2014

RABO DE PEIXEJoaquim Pinto, Nuno Leonel, P 2015

covered filmmakers. And sometimes it seems as if it is precisely the overkill of images and sounds of our virtualworlds that provokes surprising, inventive and concentrated cinematic works. Fine examples of this includeTIrED MOONLIGHT (Britni West), SuEñAN LOS ANDrOIDES (Ion de Sosa), XIu CHuN DAO (Lu Yang), ME ANDEArL AND THE DYING GIrL (Alfonso Gomez-rejon) or Lu BIAN YE CAN (Gan Bi) – films in which the aforemen-tioned school of seeing is momentarily present.

undoubtedly, the year 2015 has not been a great year for Austrian cinema, as various festivals and interna-tional comparisons have also shown. rather, it has been a year of taking a deep breath. Nonetheless, it has yieldeda series of beautiful, unique works, which will be presented at the upcoming Viennale, including LAMpEDuSAIN WINTEr (Jakob Brossmann), AuS DEM NICHTS (Angela Summereder) and SEIT DIE WELT WELT IST (GünterSchwaiger).

The Poster Subjects of the Viennale 2015Many international film festivals have chosen an animal as their distinguishing feature. The Berlinale has thebear as its heraldic animal, rotterdam the tiger, Lisbon the crow and Locarno the leopard, to mention a few. TheViennale 2015, which also particularly devotes itself to animals, adorns itself with an unusual poster: the imageof a many-million-year-old skull of a fossil crocodile, supposed to protect and accompany us during this year’sfestival.

The poster for the retrospective is a reference to a legendary film in the history of cinema, Alfred Hitchcock’sTHE BIrDS. A programmatic example of this year’s retrospective, once again realized in collaboration with theAustrian Film Museum and entitled “Animals – A Small Zoology of Cinema.” And, in fact, it isn’t that small at all.At the same time, the poster is a beautiful way of announcing one of the great guests of this year’s Viennale, thelegendary American actress Tippi Hedren.

Viennale 2015 Retrospective 2015

A1 FREELINE 0800 664 015 • TICKETS AB 17. OKTOBER • WWW.VIENNALE.AT

22. OKTOBER BIS 5. NOVEMBER 2015

RETROSPEKTIVE

ANIMALSEine kleine Zoologie des Kinos

16. OKTOBER – 30. NOVEMBER 2015www.viennale.at • www.filmmuseum.at

Österreichisches Filmmuseum1010 Wien, Augustinerstraße 1, Tel. 533 70 54

VIENNALE • FILMMUSEUM

24.07.15 23:10 Seite 1

Selection from the feature film program

L’AstRAgALe Brigitte Sy, F 2014ComoARA Corneliu Porumboiu, RO/F 2015the DiARy of A teenAge giRL Marielle Heller, USA 2014the enD of the touR James Ponsoldt, USA 2014expeRimenteR Michael Almereyda, USA 2015iRRAtionAL mAn Woody Allen, USA 2015Kiseiju YAMAZAKI Takashi, Japan 2014KozA Ivan Ostrochovsky, SLO/CZ 2015Lu biAn ye CAn Gan Bi, China 2015Le mAsque De sAn Jacques Sarasin, CH/F/Mali 2014me AnD eARL AnD the Dying giRL Alfonso Gomez-Rejon, USA 2014miA mADRe Nanni Moretti, I 2014DeR nAChtmAhR AKIS, D 2015nie yin niAng Hou Hsiao-Hsien, Taiwain/China/Hongkong/F 2015queen of eARth Alex Ross Perry, USA 2015RAK ti Khon KAen Apichatpong Weerasethakul, Thailand/GB/D/F/Malaysia 2015RéALité Quentin Dupieux, F/B 2014suenAn Los AnDRoiDes Ion de Sosa, E 2014tAngeRine Sean Baker, USA 2014tiReD moonLight Britni West, USA 2015tRois souVeniRs De mA jeunesse Arnaud Desplechin, F 2015VALLey of LoVe Guillaume Nicloux, F 2015xiu Chun DAo LU Yang, China 2014

Selection from the documentary program

A poem is A nAKeD peRson Les Blank, USA 1974/2015AnD when i Die, i won’t stAy DeAD. bob KAufmAn, poet Billy Woodberry, USA/P 2015bAttLes Isabelle Tollenaere, B/NL 2015behinD jim jARmusCh Léa Rinaldi, F 2011bitteR LAKe Adam Curtis, GB 2015bReAKing A monsteR Luke Meyer, USA 2015ComA Sara Fattahi, Syrien/Libanon 2015CLAuDe LAnzmAnn: speCtRes of the shoAh Adam Benzine, GB/Kanada 2015Counting Jem Cohen, USA 2015DReAmCAtCheR Kim Longinotto, GB 2015hotLine Silvina Landsmann, Israel/F 2015jACo Paul Marchand, Stephen Kijak, USA 2014the LooK of siLenCe Joshua Oppenheimer, DK/NO/FIN/Indonesien/ GB 2014the nightmARe Rodney Ascher, USA 2014posLeDniy Limuzin Daria Khlestkina, RUS /D 2014RAbo De peixe Joaquim Pinto, Nuno Leonel, P 2015seit Die weLt weLt ist Günter Schwaiger, A/E 2015stRiChe ziehen Gerd Kroske, D 2014the thoughts thAt onCe we hAD Thom Andersen, USA 2015toponimiA Jonathan Perel, Argentinien 2015une jeunesse ALLemAnDe Jean-Gabriel Périot, F/CH/D 2015the woLfpACK Crystal Moselle, USA 2015

Choreography of DesireA Tribute to Tippi Hedren

While she did more than fifty movies for the cinema and TV in the course of her life, exactly two of them madeher immortal forever. In 1962 and 1963, the two legendary classics THE BIrDS and MArNIE were produced under

the direction of Alfred Hitchcock, starring Tippi Hedrenat the age of barely twenty. The rest is history.

Hitchcock had discovered pictures of the blondemodel in a magazine and was virtually obsessed by theyoung woman from the very first moment. Down to themost thorough detail, he defined the looks, appearanceand performance of the inexperienced Tippi Hedren inthe part of the young teacher Melanie Daniels in THEBIrDS at first, followed by the role of the enigmaticMarnie in the film by the same name. “It’s a remarkablegesturalism“, wrote Camille paglia about Hedren’s per-

formance, “raised to the level of choreography“. While according to the semi-official version of their legendarycollaboration – which eventually failed because of Hitchock’s obsession – “Hitchcock made her with THE BIrDSand maybe tried to ruin her with MArNIE”, it also marked two rather exceptional moments in the history of film.

Featuring THE BIrDS as part of this year’s great retrospective as well as a gala presentation of MArNIE in thepresence of Tippi Hedren, the Viennale pays special tribute to that exceptional actress. However, it was not onlyin the rare Viennale festival showing of rOAr, the wild animal movie project Tippi Hedren worked on for morethan ten years, acting alongside her daughter Melanie Griffith, that she proved to be more than just Hitchcock’sheroine.

In the presence of Tippi Hedren.

The Man from ItuzaingóRaúl Perrone – The Last of the Independents

The father of independent Argentinean cinema has made most of his films in and on the subject of Ituizangó, asmall city 15 kilometers away from Buenos Aires. Ituizangó owes to perrone’s movies the fact that it is as much

of a filmic urban space as paris or New York for other film-makers. In almost 28 years, raul perrone has made over 40films without any kind of external financial support. He isone of the few directors who can claim a deep understand-ing of the digital format which enables him to impose afilmic logic in it. Any of the shots in films of his such asp3ND3JO5 or FAVuLA are irrefutable witnesses to it.

perrone’s films are living organisms in constant permu-tation. His first Barrio films, closer to a naturalistic style andbased on words, have little to do with the experimental, for-mal sophistication of his latter works in which words remainbeyond the frame. These are tales about neighbors and

friends, about love, ominous tales set in an imaginary jungle or in a castle. And, more recently, a Samurai tale.The multiplicity of themes is just as evident as the aesthetic drive of a filmmaker who reinvents, film after film,cinema’s language.

How Green Was My ValleyManoel de OliveiraRemembered by Pedro Costa

One of the most important masters of modern-day cinema – por-tuguese director Manoel de Oliveira – died at the age of 105 lastspring.

His œuvre, encompassing nearly the entire history of film, fusesnot only theatre and music, documentary and narrative, literatureand painting, realism and stylisation, but also all forms and storiesin their contrariety, amalgamating them into one hitherto unknown,integral whole. Who will ever recreate the world and the home, his-tory and the river, soldiers and lovers, far-away countries and the na-tive Douro valley with such a wonderful sense of vitality andvibrancy in a movie? Involving true labour of love, portuguese direc-tor pedro Costa has selected about a dozen films from the vast œuvre

of, and in tribute to, Manoel de Oliveira upon the Viennale’s invitation. The films also form part of a larger project dedicated to Manoel de Oliveira, to be realised – with the generous

support of the Cinematheca portuguesa – by the Viennale and the Austrian Film Museum jointly this coming fall.

Tales of a Useful LifeUruguayan Filmmaker Federico Veiroj

With just three full-length feature films and a handful of short works, uruguayan director Federico Veiroj hasmanaged to compile an altogether distinctive, fascinating cinematographic oeuvre within just a few years. Bornand raised in Montevideo, Veiroj belongs to a small group of cinephiles whose home was the local Cinémathèque,a place that – not by coincidence – plays a central role in Veiroj’s second film, LA VIDA ÚTIL. But to Veiroj his all-encompassing, well-informed love of cinema is anything but a cineastic end in itself. It is, rather, the source of

independent, often funny and mechanical, but also extremely lively and witty film narrative; narrativeabout a knot of contradictions we get ourselves en-tangled in trying to invent a useful and successfullife of our own. Be it the 13-year-old, confused andpremature Jewish teenager Bregman in ACNÉ(2007), the jobless cinema operator Jorge in LA VIDAÚTIL (2010), who wakes up to life from the Ciné-mathèque; or 35-year-old Tamayo in Veiroj’s recentfilm EL ApÓSTATA (2015), a whimsical, stubbornDon Quijote fighting the church, the family and au-thority as a whole: In Veiroj’s wonderfully subtle

cineastic work these are brothers in arms struggling for a meaningful, happy life – unusual figures and witnessesof old-fashioned yet utopian cinema; for the first time on show in its entirety at the forthcoming Viennale.

In the presence of Federico Veiroj.

RETROSPECTIVEANIMALS

A Small Zoology of Cinema

The things we see all the time are easily lost sight of. As our attention focuses on the extraordinary, the everydayis taken for granted. But what matters is not the size of what is apparently subordinate in our lives; it is muchrather the stature of a person – you need to stand out from the crowd in order to validate yourself. Be it on theground, high in the air or at the bottom of the sea: It is by comparing ourselves – in painting, literature and, mostof all, in cinema – that we are reassured of being the measure of all things. Never mind the old adage that manis a creature of habit.

The cinema is a machine of illusion that adds insight. We have known since Eadweard Muybridge that the gal-loping horse, for example, does not touch the ground for a moment; but even more recent cinema history revealsthe sense of fascination we feel with animals portrayed on the silver screen: In films, they are practically tamed;the film captures a world that is essentially alien to us. It is not a coincidence that we refer to the animal kingdom– a realm that also the cinema has been called upon to explore, investigate and conquer for more than a hundredyears.

Thus, speaking of the “animal in film” means, first of all, looking at the unknown, as familiar as it may seem. Asrobert Bresson wrote about his Au HAZArD BALTHASAr: “The donkey’s life parallels that of man, meaning child-hood: tenderness; maturity: work, talent, the genius of mid life; and the mystical time before death”. Therefore,Bresson’s film is one of the most beautiful, and also one of the most poetical animal movies as it exposes the fa-miliar in the unfamiliar. It shows how people afflict harm on all other creatures and take advantage of them, yethow they are also capable of sympathy and empathy at the same time. When dealing with animals, all is not lostfor man, including Johnny Weissmüller in TArZAN THE ApE MAN; one or the other animal – especially dogs –might be considered man’s best friend – as in LASSIE COME HOME, for example – while in cinema, the animal isliterally the natural counterpart to civilisation. The fact is that on the screen, animals strike a nerve that touchesupon our fears and desires. The animal becomes an object of projection and reflection at the same time.

A retrospective on animals in movies must take all these facets into account. It must include historically accuratemilestones and works of secondary importance as well – and pay attention to those films which conceive man’srelationship with animals as part of the human condition. Given that premise, documentation and science fictionhave suddenly merged, while Frederick Wiseman’s prIMATE and Franklin J. Schaffner’s pLANET OF THE ApESseem akin; in the end, utopias and fairy tales, including man’s metamorphosis into the monstrous fly in DavidCronenberg’s THE FLY and into the “beast” in Jean Cocteau’s LA BELLE ET LA BêTE, become the setting for a lackof human love.

On the other hand, people who hunt animals for being larger than them, making them look small, are also mis-anthropists. At the end of richard Brook’s THE LAST HuNT robert Taylor must thus freeze to death in a bisonfur; and Gregory peck in John Huston’s MOBY DICk ends up drowning with his worst enemy: They have all becomeunable to see anything but that very animal – and never lose sight of it.

Michael Pekler

A RETROSPECTIVE BY VIENNALE AND AUSTRIAN FILM MUSEUM

October 16 to November 30, 2015Österreichisches Filmmuseum, Augustinerstraße 1, 1010 WienTel. +43/1/533 70 54 • www.filmmuseum.at

Films shown at the retrospective

CLAsh of the woLVes 1925, Noel M. Smith 74 minChAng: A DRAmA of the wiLDeRness 1927, Merian C. Cooper & Ernest B. Schoedsack 68 min

tARzAn the Ape mAn 1932, W.S. Van Dyke 100 min

King Kong 1933, Merian C. Cooper & Ernest B. Schoedsack 101 min

gARe! Les Lions! (AChtung! Löwen!) 1912, Lux 5’30’’ bRinging up bAby 1938, Howard Hawks 102 min

the pRiVAte Life of A CAt 1945/46, Alexander Hammid & Maya Deren 29 min bAmbi 1942, Disney 70 min

LAssie Come home 1943, Fred M. Wilcox 89 min gooD-bye, my LADy 1956, William A. Wellman 94 min

ReD hot RiDing hooD 1943, Tex Avery 7’30’’ LA beLLe et LA bête 1946, Jean Cocteau 96 min

ReD RiVeR 1948, Howard Hawks 132 min

gone to eARth 1950, Michael Powell & Emeric Pressburger 110 min

CAni DietRo Le sbARRe 1955, Gillo Pontecorvo 12 min umbeRto D. 1952, Vittorio De Sica 88 min

ein fAbeLtieR fLiegt nACh DeutsChLAnD 1954, Michael Grzimek 11 minmogAmbo 1953, John Ford 115 min

mysteRies of the Deep 1959, Disney 24 min gojiRA (goDziLLA) 1954, Ishiro Honda 96 min

ViVe LA bALeine 1972, Chris Marker & Mario Ruspoli 17 minmoby DiCK 1956, John Huston 116 min

ChAsse Aux phoques DAns LA meR De LA tAsmAnie (seehunDjAgD in tAsmAnien) 1910, Pathé 5’30’’the LAst hunt 1956, Richard Brooks 108 min

une fée … pAs Comme Les AutRes 1957, Jean Tourane 60 min CAne toADs: An unnAtuRAL histoRy 1988, Mark Lewis 47 min

pAstoRi Di oRgosoLo 1958, Vittorio De Seta 10 min inDiA, mAtRi bhumi 1957–59, Roberto Rossellini 95 min

KoiyA Koi nAsunA Koi (the mAD fox) 1962, Tomu Uchida 109 min

gLimpses of biRD Life 1910, Oliver Pike 6’50’’the biRDs 1963, Alfred Hitchcock 120 min

ViDAs seCAs (tRoCKenes Leben) 1963, Nelson Pereira dos Santos 101 min

Au hAsARD bALthAsAR 1966, Robert Bresson 98 min

De VogeLtjesVAngeR (DeR VögLeinfängeR) 1925, N.V. Orion Filmfabriek 5 minuCCeLLACCi e uCCeLLini (gRosse VögeL  – KLeine VögeL) 1966, Pier Paolo Pasolini 88 min

RAt Life AnD Diet in noRth AmeRiCA 1968, Joyce Wieland 16 minpLAnet of the Apes 1968, Franklin J. Schaffner 112 min

gAAV (Die Kuh) 1969, Dariush Mehrjui 105 min

Kes 1969, Ken Loach 110 min

L’enfAnt sAuVAge 1970, Francois Truffaut 83 min

bAtAiLLe suR Le gRAnD fLeuVe 1951, Jean Rouch 33 minLe sAng Des bètes 1949, Georges Franju 22 min Le CoChon 1970, Jean Eustache & J.-M. Barjol 52 min

LA CheniLLe De LA CARotte 1911, Pathé Frères 9 minLA peine Du tALion 1906, Gaston Velle 6 min phAse iV 1974, Saul Bass 84 min

De poes (Die KAtze) 1968, Johan van der Keuken 6 min VAse De noCes 1974, Thierry Zeno 82 min

gRigio 1957, Ermanno Olmi & Pier Paolo Pasolini [Text] 11 minpRimAte 1974, Frederick Wiseman 105 min

LAst Lost 1996, Eve Heller 12’30’’KoKo, Le goRiLLe qui pARLe / KoKo, A tALKing goRiLLA 1978, Barbet Schroeder 85 min

the CoRRiDoR 2010, Sarah Vanagt 7 min AgRAhARAthiL KAzhuthAi (ein eseL im bRAhmAnen-DoRf) 1978, John Abraham 95 min

L’hippoCAmpe, ou ’CheVAL mARin’ 1935, Jean Painlevé 14 minmon onCLe D’AmeRique 1980, Alain Resnais 126 min

DAs boxenDe KänguRuh 1895, Max Skladanowsky 20’’the AnimALs fiLm 1981, Victor Schonfeld & Myriam Alaux 136 min [Urfassung]

siD 1998, Jeffrey Scher 3 minwhite Dog 1982, Samuel Fuller 90 min

tieRe ohne feinD unD fuRCht 1953, Michael Grzimek 10 minA zeD & two noughts 1985, Peter Greenaway 115 min

Cheese mites 1903, Charles Urban 2’30’’the unCLeAn woRLD 1903, Percy Stow 2 minthe stRength AnD AgiLity of inseCts 1911, Percy Smith 4 minLes mouChes 1913, Eclipse 6 minthe fLy 1986, David Cronenberg 92 min

Le CinémA Lent et Les moVements RApiDes Des AnimAux 1915, Pathé 6 mini Do not Know whAt it is i Am LiKe 1986, Bill Viola 89 min

mADAme bAbyLAs Aime Les AnimAux 1911, Alfred Machin 8’30’’tieRisChe Liebe 1995, Ulrich Seidl 111 min

bAbe: pig in the City 1998, George Miller 97 min

queeR pets 1912, Percy Smith 4’30’’best in show 2000, Christopher Guest 90 min

sen to ChiChiRo no KAmiKAKushi (ChihiRos Reise ins zAubeRLAnD) 2001, Hayao Miyazaki125 min

gRizzLy mAn 2005, Werner Herzog 103 min

en KLuVen VäRLD (A DiViDeD woRLD) 1948, Arne Sucksdorff 9 minthe fAntAstiC mR. fox 2009, Wes Anderson 87 min

VisVAngst met AALsChoLVeRs in neDeRLAnDs inDië (fisChfAng mit KoRmoRAnen) 1925, Anonym 3 minpesCheReCCi 1958, Vittorio De Seta 11 minLeViAthAn 2012, Lucien Castaing-Taylor & Verena Paravel 87 min

In addition, the retrospective includes five thematically and motivically compiled short film programs, titled:Tier- und Menschengärten, Hund und Katz und Gromit: 130 Jahre Kino, Animali | Criminali, Der Gesang der Tiere, Animated Animals.

This year’s festival has been achieved thanks to the contribution of a large number of sponsors and partners.Their names will be announced at our press conference on October 9.

We would like to use our summer press briefing as an opportunity to thank our most important supportersand sponsors without whose generous support the festival would not have been possible in this way.

SUPPORTERS

SPONSORS

RECYCLING PARTNER FESTIVAL SPONSOR

VIENNALE – Vienna International Film FestivalSiebensterngasse 2, 1070 Wien • T +43/1/526 59 47 • F +43/1/523 41 72office@viennale.at • www.viennale.at