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Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship more
Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship of a European country. The theme of Mariage Blanc is this very intimate form of attempted immigration which is, for Mostafa Tabbou, simultaneously fiction and reality. The film was shot in three days in July of 1996 in the Hotel de Paris in Casablanca, Morocco. close
In this experimental film, Franz Schubert, on his deathbed, hallucinates about his life. Images are superimposed, one upon the other, multiplying as one more
In this experimental film, Franz Schubert, on his deathbed, hallucinates about his life. Images are superimposed, one upon the other, multiplying as one hallucination follows another. His difficult relationship with his mother and his excellent one with his father are meditated upon as he walks down a rural lane, and scenes from his operas appear. close
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow more
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us. close
On February 20th, 1810, French and Bavarian forces killed the Tyrolean rebel leader Andreas Hofer in Mantua, at that time a part of Austria. Hofer had more
On February 20th, 1810, French and Bavarian forces killed the Tyrolean rebel leader Andreas Hofer in Mantua, at that time a part of Austria. Hofer had led the Tyroleans in their fight for independence from Bavaria and was betrayed by an insignificant farmer, the betrayal and its effect on the farmer is the subject of this historically-based drama. Director Christian Berger has shot the story emphasizing visual poetics, as well as close-ups to reveal the nuances of subtle emotions as they play across the human face. Whatever the farmer Raffl's motivation -- he is clearly an underdog, overworked, with his labor unrecognized -- he receives no expected reward for his betrayal of Hofer's hiding place, and he has to quickly leave for the city to escape his fellow villagers' wrath. Once in the city and working hard in a factory, Raffl must come to grips with the fact that his identity has changed, and he may have betrayed himself as well as Hofer. close
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. more
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. The pictures, made by observant tourists, are revealed, in their tensile relationship to the soundtrack, as a post-colonial journey. A journey through exactly those countries which long ago have been shrunk together in space and time. Finally the wonderful neon signs of the “Hotel Edison” and “Radio City” remind one of the origins of this form of appropriation of the world, of the time of great expeditions, of Benjamin‘s shop-windows and passages, and of the time when technical apparatus and means of transportation fundamentally altered the perceptions of modern man. close
A fictional country in South America. The army has taken power in the state and rules with an iron fist. Anyone who is critical of the system is arrested. more
A fictional country in South America. The army has taken power in the state and rules with an iron fist. Anyone who is critical of the system is arrested. In a shrewd small town, however, citizens stand in solidarity with numerous political prisoners—namely, until, in the end, all the residents of the city were arrested. Now again there is “calm in the country”. close
In Gustav Deutsch's most recent found footage work the masses "absorb" (Walter Benjamin), the artwork. Three historical camera pans across the streets more
In Gustav Deutsch's most recent found footage work the masses "absorb" (Walter Benjamin), the artwork. Three historical camera pans across the streets and squares of Vienna, Surabaya, and Porto provide a starting point for reflection on the relationship of everyday stories and cinematic machinery. close
Early seventies in a small village in Burgenland, Austria. We are watching a boy of ten being confrontend with two of the most prevalent taboos: death more
Early seventies in a small village in Burgenland, Austria. We are watching a boy of ten being confrontend with two of the most prevalent taboos: death and sexuality. The generally accepted forms of recourse offered by religion and society have cracks, don't work any more, and thus are being ignored, by-passed or interpreted from a child's angle. This film presents subtle views and insight into the life of a boy of ten and looks upon life through his eyes. close
Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice more
Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice within daylight hours—once at dawn and once at dusk. close
Before the premiere of the opera “Samson and Delilah”, the main performer Julia Zorel, to better enter the role, goes to a familiar rabbi, hoping to hear more
Before the premiere of the opera “Samson and Delilah”, the main performer Julia Zorel, to better enter the role, goes to a familiar rabbi, hoping to hear a detailed interpretation of the biblical plot. After the performance, the singer receives an invitation from the Russian prince to give a solo concert on board his yacht. Once at sea, the crew and passengers are held hostage by a terrorist who threatens to detonate a bomb. Recalling the ancient plot, Julia undertakes to play the role of Delilah again to find out from the bomber-Samson the place where he hid explosives. close
In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms more
In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. close
The second half of Gustav Deutsch's experimental Film ist. series, constructing new narratives and moods out of existing footage, mostly from early silent era films.
The second half of Gustav Deutsch's experimental Film ist. series, constructing new narratives and moods out of existing footage, mostly from early silent era films. close
Taking the demise of a textile factory in Austria’s Waldviertel region as its starting point, with the antiquated manufacturing plant initially shown more
Taking the demise of a textile factory in Austria’s Waldviertel region as its starting point, with the antiquated manufacturing plant initially shown in full operation, this film poses the question of what work means for people’s self-image and character. After the factory goes bankrupt and closes, the filmmaker accompanies some of its employees as they continue to make their way, questioning them about their daily routines, the circumstances in which they live, about looking for work or the new jobs they find. One woman’s situation is precarious, but that doesn’t prevent her from bringing up her grandchildren. Another woman works here and there, flexible and resourceful. One man blossoms visibly in his newly unemployed state. Bit by bit, different aspects of their private lives and personal misfortunes emerge. close
FRANKREICH WIR KOMMEN is a highly enjoyable documentary, obviously intended for TV, but showing at film festivals. It shows us the highlights of the 1998 more
FRANKREICH WIR KOMMEN is a highly enjoyable documentary, obviously intended for TV, but showing at film festivals. It shows us the highlights of the 1998 World Cup Championships in France through the eyes of several interesting and diverse fans of the Austrian national team. Entertaining, even for those not interested in football. close
Beckermann's parents met in Vienna after the Holocaust. Tracing the migratory paths of her family before World War II, Beckerman returns to the European more
Beckermann's parents met in Vienna after the Holocaust. Tracing the migratory paths of her family before World War II, Beckerman returns to the European Jewish communities which inspired her childhood stories. close
This film is from the point of view of a cameraman following a young woman through the streets of a city. He chases her down an alley and knocks her over, more
This film is from the point of view of a cameraman following a young woman through the streets of a city. He chases her down an alley and knocks her over, in a symbolic form of video assault. No dialogue. close
Ahasverus, king of Persia and Media, puts aside Vashti and makes Esther his queen, choosing her among maidens in a kingdom stretching from India to Ethiopia. more
Ahasverus, king of Persia and Media, puts aside Vashti and makes Esther his queen, choosing her among maidens in a kingdom stretching from India to Ethiopia. Esther, using information from Mordecai, her uncle and patron, saves the king from assassination. Haman, the king's favorite, is miffed when Mordecai won't bow to him, so he orders death to all Jews in the kingdom, under the seal of the king. Esther pleads for her people, and Mordecai is in turn given license to make his own edict under the king's seal. Mordecai loses sight of his original intention, and bloody murder ensues. Purim annually celebrates the story. At the end of the film, the actors comment. close
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst more
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm. close
Germany's economic movers and shakers get a thorough going-over in Friedl's docu-fiction hybrid, which doesn't hesitate to point fingers at those partially responsible for Europe's financial woe.
Germany's economic movers and shakers get a thorough going-over in Friedl's docu-fiction hybrid, which doesn't hesitate to point fingers at those partially responsible for Europe's financial woe. close
A long time-span of Austrian history (from the late 19th century to the years after world war II) is reflected in the ups and downs of a family of piano-makers in Vienna.
A long time-span of Austrian history (from the late 19th century to the years after world war II) is reflected in the ups and downs of a family of piano-makers in Vienna. close
The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained more
The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. Art forms experience. close
One autumn, Edgar, a 12 year old boy, spends a holiday with his mother at a plush hotel in Switzerland. His father, a busy lawyer, remains at the family more
One autumn, Edgar, a 12 year old boy, spends a holiday with his mother at a plush hotel in Switzerland. His father, a busy lawyer, remains at the family home in Vienna. When he sees a stylish motorcar pull up at the hotel, Edgar wastes no time befriending its owner, an amiable dandy. The latter pays more attention to the boy’s mother than to the boy himself, and decides to use Edgar to wheedle his way into her affections. When Edgar realises he has been used, he is far from happy... close
A pop sci-fi lesbian fantasy set in the year 2700 in the fictive burned-out city of Ache which follows the tangled lives of three woman -- Volley, Nun and Spy.
A pop sci-fi lesbian fantasy set in the year 2700 in the fictive burned-out city of Ache which follows the tangled lives of three woman -- Volley, Nun and Spy. close
Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity, though more
Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity, though the "action" itself was primarily a gradual destruction of the erotic. close
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