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Lord of the Frames: Kurt Kren by Peter Tscherkassky Translation: Elisabeth Frank-Großebner reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. (Source: http://www.hi-beam.net/mkr/kk/kk-bio.... http://www.ubu.com/film/kren.html

After several strokes of fate ends a rage eruption of the otherwise so quiet power engineering technician Felix Grünler with a criminal complaint for assault. A grateful affair for his sister-in-law Karin, who forges an intrigue to gain the inheritance of her mother-in-law. She succeeds in having Felix admitted to psychiatry as incompetent. He is determined not to get into therapy. For doctors, this confirms the picture of the labile patient. But in the other patients Felix gives his consistent anti-attitude in the long run benevolent recognition.

这是一部幽默讽刺喜剧，讲述了一位来自 2222 年的男子穿越到当时民主德国（GDR）共产主义政权下的日常生活。他借助能读心的水晶，揭露了国营企业（VEB，即“Volkseigener Betrieb” ）所宣称的“美好未来”背后的一些不当行为和道德缺陷。

Alf believes he has missed out on something. Marriage and a high-rise apartment put the brakes on his desire for freedom. To make up for what he missed, he gets in his Jeep and drives off. But nothing works out with his old friends. But with Charly, leader of a motorcycle clique. With the 20-year-old and her crazy ideas, Alf experiences the "action" he was looking for.

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A man meets a girl in an Alpine Lodge and decide to make the relation permanent, but they lose each other, each thinking the other to be disloyal. When the meet again, both are engaged, to others, and she is mother of his child.

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暂无英文版的简介，请添加内容帮助我们完善数据库。

Former detective Lukas Geier has retired to Bad Gastein in the Austrian Alps. While he is busy to reinvent himself, his former life as an investigator catches up with him.