Direkt zum Hauptbereich

CROSSING EUROPE


CROSSING EUROPE remains true to its program this year and relies on the attractiveness of European auteur cinema

Daring to focus the contents of an entire festival on Europe without turning a blind eye to socio-political imbalances or social wounds has paid off. In addition, the festival in 2015 again strives to present young filmmakers from Europe to a wider public in Austria and to award prizes to the young directors. 



From 23 to 28 AprilCROSSING EUROPE will present about 160 outstanding hand-picked feature films, documentaries and short films from all over Europe – a lot of premieres as well as internationally awarded films which will be shown for the first time in Austria. 

The festival invites numerous highlights from the past festival season (from A-Festivals in Berlin, Cannes, Locarno, Venice, Karlovy Vary, Warsaw or San Sebastían) as well as high-quality local filmmaking. 

CROSSING EUROPE, the second-largest international film festival in Austria, also concentrates on films from so-called "low capacity countries", i.e. countries with a smaller and underdeveloped film industry, and productions that find no room in the regular cinema business far too often and despite international festival success.


In the official program, international festival guests and the local cinema audience can look forward to a total of 160 selected feature films, documentaries, and short films from 45different countries – including 109 premieres (42 world premieres, 4 international premieres and 65 Austrian premieres). The festival year 2015, the twelfth festival edition, comprises a total of 180 program places.

MB

Kommentare

Beliebte Posts aus diesem Blog

Jesse Kanda

MB

Egon Schiele by Tim Walker

Photography Tim Walker Styling Jacob K MB

Jason Fox

Jason Fox’s first solo show was held at Feature in New York in the early nineties, just after MoMA’s  High and Low: Modern Art and Popular Culture    (the first major exhibition to address “the relationship between modern art and popular and commercial culture.”)  And only two years before Mike Kelley organized  The Uncanny  at the Gemeentemuseum , Arnhem.  Fox’s work itself acts as a link between these events, and they in turn allow us to chronologically situate his acts of borrowing from both art history and from record sleeves of the seventies.  Although considered as common practice today, this kind of artistic approach was not so widespread at the time.   
 In a recent interview with artist Joe Bradley, Fox explicits his position:  “ The early nineties was another death-of-painting period and to be making expressive paintings that had nothing to do with appropriation was going against the tide. Fro...