#Daniel Hoesl

[the-real-daddy-van-der-bellen]

I am saying this as someone who never watches movies and hasn't been to a cinema in more than a year

Everyone needs to watch Veni Vidi Vici

no excuses you simply have to

[movienized-com]

Veni Vidi Vici

Veni Vidi Vici (2024) #DanielHoesl #JuliaNiemann #LaurenceRupp #UrsinaLardi #MarkusSchleinzer #AlexanderStecher Mehr auf:

Jahr: 2024 (Januar) Genre: Krimi / Drama Regie: Daniel Hoesl, Julia Niemann Hauptrollen: Laurence Rupp, Ursina Lardi, Markus Schleinzer, Alexander Stecher, Dominik Warta, Olivia Goschler, Johanna Orsini-Rosenberg … Filmbeschreibung: Die Maynards und ihre Kinder führen ein nahezu perfektes Leben als Milliardärsfamilie. Amon ist ein leidenschaftlicher Jäger, schießt aber keine Tiere, denn der…

[screenzealots]

"Veni Vidi Vici"

A smug, self-important film that thinks it’s edgier and more clever in its themes than it actually is.

“Veni Vidi Vici” is a button-pushing film that satirizes the one percent, exposing their unchecked lack of accountability, their ability to live above the law, and their almost magical power to get away with anything as long as there’s enough cash in your bank account. It’s a world where rules and facts don’t matter, and the rich are untouchable. In a world that’s increasingly growing more…

[perinbaba-a-dva-svety-cely-film]

Perinbaba a dva světy Celý film online zdarma youtube

Perinbaba a dva světy Celý film Perinbaba a dva světy premiéra Perinbaba online perinbaba a dva svety online film Tobias Hoesl Perinbaba hudba Perinbaba 2 Netflix Perinbaba a dva světy premiéra Perinbaba 2 Netflix Perinbaba a dva světy  Perinbaba 2 online zdarma Perinbaba online Perinbaba hudba perinbaba youtube Perinbaba 2 ČSFD Perinbaba a dva svety Slovak Movie Streaming Online Watch | 4K UHD | 1080P FULL HD | 720P HD | MKV | MP4 | DVD | Blu-Ray | <a href="LINK">📥 DOWNLOAD</a> Perinbaba a dva světy/Perinbaba 2 Pohádka Slovensko, 2022 Režie: Juraj Jakubisko Scénář: Juraj Jakubisko Hudba: Ondřej Soukup, Jan Jirásek Hrají: Lukáš Frlajs, Ivan Romančík st., René Štúr, Sabina Skalická, Daniel Nekonečný, Petra Kolevská, Ľudmila Swanová, Lívia Bielovič, Ľubomír Paulovič, Andrea Verešová, Giulietta Masina (a.z.), (více) (další profese) Obsahy: Príbeh Lukáša a jeho kmotry Perinbaby je pretkaný dobrodružstvom, humorom i magickými kúzlami. Po smrti rodičov, Alžbetky a Jakuba, sa ich syn Lukáš vydáva na dlhú cestu za šťastím. Vďaka svojej vynaliezavosti, mladíckej neohrozenosti a zručnosti si vzápätí nájde spôsob, ako sa vo svete nestratiť. S tým mu pomáha štvornohý priateľ Ucho, ktorý sa k nemu na ceste pripojil. Poznanie, ktoré Lukáš získava počas svojho putovania, mu nakoniec pomôže získať lásku, o ktorej sníval a nájsť miesto, kde sa jeho neskutočný sen stane skutočnosťou. Zázraky sa nestávajú len v snoch, ale aj v živote. A ak po niečom skutočne túžime, môže sa nám to vyplniť. A ako dopadne nekonečný súboj dvoch nesmrteľných sestier Perinbaby a Zubatej? Kto vie, jediné čo môžeme prezradiť, je, že sedmička je šťastné číslo. (Bontonfilm SK) (Olivia DeJonge). (Vertical Ent.) Perinbaba a dva světy/Perinbaba 2 celý film Česka sk dabing, Perinbaba a dva světy/Perinbaba 2 sleduj filmy, Perinbaba a dva světy/Perinbaba 2 online sk titulky, Perinbaba a dva světy/Perinbaba 2 Program filmy, Perinbaba a dva světy/Perinbaba 2 sk HD Film o filmu, Perinbaba a dva světy/Perinbaba 2 sk dabing, Perinbaba a dva světy/Perinbaba 2 premiéra, Perinbaba a dva světy/Perinbaba 2 online sk, Perinbaba a dva světy/Perinbaba 2 online sk dabing, Perinbaba a dva světy/Perinbaba 2 Celý Film, Perinbaba a dva světy/Perinbaba 2 Titulky, Perinbaba a dva světy/Perinbaba 2 nový film, Perinbaba a dva světy/Perinbaba 2 DVD filmy, Perinbaba a dva světy/Perinbaba 2 Blu-ray filmy, Perinbaba a dva světy/Perinbaba 2 3D filmy, Perinbaba a dva světy/Perinbaba 2 online bombuj, Perinbaba a dva světy/Perinbaba 2 online cely film sk, Perinbaba a dva světy/Perinbaba 2 online ke shlednuti, Perinbaba a dva světy/Perinbaba 2 sk dabing online ke shlednuti, Perinbaba a dva světy/Perinbaba 2 online, Perinbaba a dva světy/Perinbaba 2 online film sk, Perinbaba a dva světy/Perinbaba 2 Bombuj, Perinbaba a dva světy/Perinbaba 2 bombuj sk, Perinbaba a dva světy/Perinbaba 2 online ke shlédnutí, Perinbaba a dva světy/Perinbaba 2 celý film Cesky, Perinbaba a dva světy/Perinbaba 2 celý film zdarma ke shlédnutí, Perinbaba a dva světy/Perinbaba 2 celý film sk dabing, Perinbaba a dva světy/Perinbaba 2 zkouknito, Perinbaba a dva světy/Perinbaba 2 sleduj filmy, Perinbaba a dva světy/Perinbaba 2 online sk titulky, Perinbaba a dva světy/Perinbaba 2 plný film Sleduj Perinbaba a dva světy/Perinbaba 2 Celý Film sk Dabing HD

[regardezmoica]

Bloodsuckers - Berlinale 2021

Bloodsuckers (Blutsauger)

[Berlinale 2021] - Encounters

Germany, 2021

127 Min

Director: Julian Radlmaier

Cast: Alexandre Koberidze, Lilith Stangenberg, Alexander Herbst, Corinna Harfouch, Andreas Döhler, Daniel Hoesl, Mareike Beykirch, Kyung-Taek Lie, Darja Lewin

August 1928: while workers and farmers search “Das Kapital” for answers to some mysterious vampire bite marks, a self-proclaimed baron enters the life of the charming heiress Miss Flambow-Jansen, as well as her luxury Baltic residence. As it turns out, he is actually a proletarian impostor, forced to escape from the Soviet Union because of a political incident involving no less than Sergei Eisenstein and Stalin himself.

The film is set on the German Baltic Sea in 1928. In the opening scene, a circle of readers is seen sitting on the beach discussing Marx's classic Das Kapital. More specifically, it's about the passage where Marx metaphorically speaks of the capitalists sucking the working class dry. They come up with the idea of applying this to vampires, which they then discard, but which forms the basis for the film and is superbly done.

The aristocratic factory owner Octavia Flambow-Jansen has a magnificent residence on that Baltic coast, where Lyovushka gets lost, pretending to be a baron. But Octavia soon finds out that he is a penniles1s actor who played the role of Trotsky in Eisenstein's revolutionary film but was then cut from the film because the real Trotsky had trouble with Stalin. At the same time, there is a vampire going around the village whose bites are sold to the factory workers by the press and nobility as flea bites because of lack of hygiene.

The story is divided into 3 chapters, each focusing on a particular main character. For example, Octavia's servant Jacob, who just like Lyovushka, is in love with his boss and tries to impress her as a confused poet, which reflects on human relations in class society. It's just a pity that Octavia, as an aristocrat, is of course also a bloodsucker.The film is set in 1928, but props like a Coke or a motorcycle are used to point out the relevance of capitalism in today's world. 

Radlmaier shows how political ideas repeat themselves in history, yet the systems are similar. He does not try to convince of Marxism but encourages reflection. The dialogues are ingenious, there is much to laugh at and discover. Also stylistically and aesthetically cool- reminds a bit of Roy and Wes Anderson.

Grade: B

Trailer  - https://www.youtube.com/watch?v=_9twRIzOHnM

[michaelsennhauser]

Nyon 2020: DAVOS von Daniel Hoesl und Julia Nieman (Wettbewerb)

Nyon 2020: DAVOS von Daniel Hoesl und Julia Nieman (Wettbewerb)

© European Film Conspiracy

Noch bis am 2. Mai läuft der internationale Wettbewerb des Dokumentarfilmfestivals Visions du réel von Nyon – komplett online und gratis so zu sehen, wie ihn auch die Jury sieht. Unter den vierzehn Filmen ist auch Davos von Andreas Hoesl und Julia Nieman aus Österreich.

Über ein Jahr haben die Österreicher Daniel Hoesl und Julia Nieman in Davos gelebt und gefilmt.…

[storytellert]

WINWIN  by Daniel Hoesl

VERY curious about this film ...

Synopsis: Three investors, wolves in sheep’s clothes, can’t for the life of them find heart or soul. In their jets, they circle the globe, preaching love and earning gold. Smoke and mirrors is their game, ministers, unions and kings enjoy their fame. Gambling with open cards at the table, where there’s no risk there’s only one aim: the truth is a lie, 'cause lying is real – when you get pranked, how does it feel?

[coydogsfilm]

Rotterdam International Film Festival 2014 Presents:

The Madness of the Day

Directed: Daniel Hoesl

Cinematography: Leif Huron

https://vimeo.com/21271817

[andersonvision]

SOLDATE JEANNETTE

[vc_row][vc_column width=”1/1″][vc_video link=”https://youtu.be/_f7N6_Kq7oA”%5D%5B/vc_column%5D%5B/vc_row%5D%5Bvc_row%5D%5Bvc_column width=”1/1″][vc_column_text]”Soldate Jeannette” is a Fassbinder style tale about a woman that is either destroying herself or fighting against the system. The film plays short and it took about three viewings for me to get a grasp on the material. The lead lady is…

[24-liffe]

VOJAKINJA JEANNETTE (Soldate Jeannette, Daniel Hoesl, 2013)

trailer filma / spletna stran filma

tor, 12.11.2013 21:15 Kinodvor pet, 15.11.2013 15:00 Kinodvor

Rigorozno, klinično, skoraj laboratorijsko posneta zgodba o Jeannette, ženski z "jajci", ki seje razumu nasprotujoče ideje, tega jasno strukturiranega sistema (avstrijske in skoraj zahodne) civilizacije.

[festivalists]

STP 2013 / Ivan Velisavljević - Burning money, carving cows

Daniel Hoesl’s SOLDATE JEANNETTE is a meditation on the value of money, as well as the courage to change one's lifestyle and socially constructed identity, done in the stylistic manner of the New German Cinema of the 1960s and 1970s. Hoesl claims he made this film without a screenplay, mixing experienced theatre actors, such as Johanna Orsini-Rosenberg (in the leading role of Fanni), with non-actors, such as Christina Reichsthaler (in the role of Anna), letting them rely on their biographies to create scenes. His experience as an assistant director on the PARADISE trilogy adds to certain similarities with Ulrich Seidl’s films, but Hoesl’s approach is very different. Distancing effects in acting (Johanna Orsini-Rosenberg’s strong presence and the deadpan acting style), cabaret-like soundtrack, ironical references to Godard, and the emphasis on the contrast between iconography, the social milieu of the working class, and the bourgeoisie, relate Hoesl more to Fassbinder than to Seidl.

Fanni is a rich person who has money troubles but denies the problem until she is thrown out of her apartment. However, she is not impressed with material advantages and invests much more effort into training in martial arts, going to massage sessions, and adhering to wellness programs. These hints insinuate there is something more to Fanni than her denial of the bankruptcy problems she is having, details of which are never clarified. It is not really important what exactly is behind it; what matters is her decision to make a radical break in her lifestyle, so she burns the money she has swindled and goes to a farm in the mountains. The shocking and intense scene of a butcher carving a cow in the slaughterhouse marks the transition to the second story. Hoesl not only intensifies his point about the split between the upper and lower classes, the urban bourgeoisie and the rural working class, civilization and nature, but also the split in the personalities of his heroines. Anna, the second female character in the film, feels at odds with her environment of hayricks and cow dung, where she is being insulted, bossed around, and sexually exploited by her boss Ernst. So, when Fanni steals Ernst’s car keys and gives her dress to Anna – urging her to leave the farm – Anna finally decides to take the step Fanni has already taken: but in the opposite direction.

Since it focuses on the two women and their decision to liberate themselves from their former existence, SOLDATE JEANNETTE bears a very general resemblance to THELMA & LOUISE (1991) – only it is a lot slower. The two women meet in the second half of the film, and when the police chase starts, the film ends. Moreover, in Hoesl’s film the two women do not go on the road together, since each of them has a different goal in sight.

Hoesl is more concerned with the form and the political statement than with explaining every aspect of the narrative, but the lack of plausible causes and clear motivation is more than recouped by memorable actors, precise construction of shots, and the astute use of visuals. Many scenes are shot with almost no camera movements and with few cuts, the visual dynamic relying on the contrast between the configurations of spaces, and there are a number of very visceral moments, as well as scenes of striking visual beauty. Gerald Kerkletz, a cinematographer who worked with Markus Schleinzer on his Palme d’Or nominated film MICHAEL (2011), contrasts showrooms with washed-out colors, the sterile spaces of banks and boutiques where grey, brown, and white dominate, with the very different palette of the farm, colored in yellow, dark green, and ochre. Bettina Köster’s original music adds to the emotional impact of the story, and so does the song by the band Gustav, in the memorable scene when a herd of cows slowly passes through the shot.

Even though it leaves a lot of unexplained gaps in the narrative and is more concerned with style and message than with a clear story, Hoesl’s distinctive debut has a lot to offer the audience who is fond of this type of cinema.

[eddoyle]

East End Film Festival 2013: 'Soldate Jeanette' (2013, dir. Daniel Hoesl, Austria)

“A streak of referential humour runs throughout this riches-to-rags odyssey, as director Daniel…

View Post

[festivalists]

STP 2013 / Daniel Mandić - No rest for the wicked

SOLDATE JEANNETTE is a drama about two women’s spiritual rebellion against the material world: Fanny escapes from a city to countryside, while Anna does the opposite.

Fanny, masterfully played by Johanna Orsini-Rosenberg, is a mature member of the upper-middle class who, for the first half of the film, seems absolutely indifferent in her efforts to financially destroy herself. Rushing from one illegal loan to another, she eventually leaves the city, and in the scene where she camps in mountains, she burns a large stack of bills, shocking the unsuspecting viewer as her oddly peaceful face reveals that this is a fully staged bankruptcy plot – the motives of which remain unclear until the end of the film.

At this point, the story brutally switches and introduces the extremely naturalistic life of Anna (Christina Reichsthaler), a young woman who works on a farm. Sleeping with a rough man, whose father owns the farm, and being unable to neither confront, nor resist him, thus failing to earn his respect, she is close to despair, set against her harsh everyday routine – until Fanny takes her under her protection. And labour for one is entertainment for the other! Without any of the restraints of the material world, Fanny encourages Anna to escape.

SOLDATE JEANNETTE is a strongly motivational story. Satirical while depicting fashionable city life, the film also demystifies popular opinions about the satisfaction that life in countryside offers, promoting an idea of freedom outside the borders of any social or conformist structure. Although escape is practically impossible, the film leaves its ending open. Despite hinting that Fanny’s chances to leave are limited, it is convincing in communicating that whatever happens in the future, she will remain free in spirit, determined not to obey the enforced laws.

Young director Daniel Hoesl refuses to paint society through the usual clichés of alienation that might have forced Fanny to turn her back on it but rather represents it through the supportive characters that appear willing to give Fanny a hand. By refusing their help, she only highlights her personal attitude towards this kind of society, showing the need to get away even more strongly. At the same time, the countryside seen through Anna’s eyes is far less idyllic.

However, aside from the beautiful cinematography of Gerald Kerkletz and Natalie Schwager’s solid editing, the author of SOLDATE JEANNETTE could have put more effort into solving the substance rather than the form; the expression is much stronger than its characters and narrative line.

A wide range of music – from aggressive techno to soft jazz – underlines the anarchistic message of freedom and revolt – though the story itself leaves no doubt regarding its intentions.