Vienna, Austria, 1912. The brilliant painter Oskar Kokoschka, considered one of the main representatives of the expressionist movement, has a tumultuous relationship, both professional and romantic, with the composer Alma Mahler.
Luna rebels against the indifference of her artsy friends by writing a punk song about Laugo, the construction worker from across the street. Will the clashing worlds of affluent neglect and working life lead to the collapse of their romance?
Max goes to the sauna. With that, he doesn’t just open the door to a steam room, but also to an eccentrically askew parallel world.
Puppets! Pixels! Anime! Live action! Stock footage! Lumpennerd Johannes Grenzfurthner gives an ideotaining cinematic revue about important political concepts. Everyone is talking about freedom! Privacy! Identity! Resistance! The Market! The Left! But, yikes, Johannes can't tolerate ignorant and topically abusive comments on the "Internet" anymore! Supported by writer Ishan Raval, in this film, Johannes explains, re-evaluates, and sometimes sacrifices political golden calves of discourse. Not to be used with false consciousness or silicone-based lubricant.
Mao inherits her uncle Waberl’s – a former icon of Sex, Drugs and Rock’n’Roll – hotel on the countryside. With the help of her friends Max (a wannabe entertainer with brilliant concepts but lacking structure) and Jerry (a skilled Guitarrero but less skilled chef) they try to put together a hotel band to save Rock’n’Roll as well as their bankrupt hotel.
Andreas and Stefan lead a happy and passionate life: Together with their beloved tomcat Moses, they live in a beautiful old house in Vienna's vineyards. They work as a musician and as a scheduler in the same orchestra and they love their large circle of friends. An unexpected and inexplicable outburst of violence suddenly shakes up the relationship and calls everything into question - the blind spot that resides in all of us.
A movie based on the book by Christine Nöstlinger “Maikäfer, flieg! Mein Vater, das Kriegsende, Cohn und ich”
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