Program Preview September / October 2025

(September 2 to Oktober 16, 2025)

Here you can find a first glimpse of our upcoming events in September/Ocrtober 2025. The full program with all details and dates will be published around July 31, 2025.
 
The Fog, 1980, John Carpenter
John Carpenter. Complete Works
Words with Gods / Book of Amos, 2014, Amos Gitai (Foto: Agav Films)
Amos Gitai: Words with Gods
Ferien, 2007, Thomas Arslan (Foto: Arsenal – Institut für Film und Videokunst e.V.)
Thomas Arslan. Arsenal on Location
John Smith
In Person: John Smith
Farbversuchsprogramm, 2022, Stefanie Weberhofer
Cinema for Little Ones: Film Tricks
Gros Loup, 1976, Barbara Glowczewska
The Amos Vogel Atlas 22: Cinédoc
Richard Cardinal: Cry from a Diary of a Métis Child, 1986, Alanis Obomsawin (Foto: National Film Board of Canada)
Alanis Obomsawin. Mini Retrospective
One day, Instead of One Night, a Burst of Machine-Gun Fire will Flash, if Light Cannot Come Otherwise, 2009, Milica Tomić (Foto: Srđan Veljovića)
Milica Tomić: On Love Afterwards
Mahler, 1974, Ken Russell
David Puttnam: Mahler
Die Nachtmeerfahrt, 1986, Kitty Kino (Foto: Filmarchiv Austria)
Talks with Women Film Pioneers: Gerda Fritz
The Aviary, 1955, Joseph Cornell (Kadervergrößerung ÖFM)
What Is Film: Program 1–14
September 4 to October 16, 2025

John Carpenter

Complete Works

We dedicate the start of our season to probably the most influential living genre director in the United States: John Carpenter. A film school drop-out born in 1948, Carpenter already began to attract attention as a staging virtuoso with his own signature in the early 1970s with his first, low-budget independent productions. The worldwide success of his third feature, Halloween (1978), established him early on as a master of horror. This label fails to do justice to Carpenter's versatility, however, even if he – not least for his distinct love for the fantastic – often returns to this genre. But with his unmistakable approach, Carpenter has inscribed himself in genre cinema from sci-fi to action thriller and including a few comedic interludes, most of which are scored by his own electronic compositions, whose catchy minimalism is as memorable as the dazzling clarity of his visual compositions. [...]