Film Museum Makes Film
June 30 to July 3, 2026
At the beginning of the Austrian Film Museum, one can find a monumental corpus of films handcrafted by one of Film Museum's famous founding fathers, filmmaker-turned-curator. On the other end of our time arrow, we find a similarly monumental film essay reflecting the passions of his worthy successor, curator-turned-filmmaker. And a closer look at the current diverse crew of enthusiasts who form the Film Museum reveals that almost half of us not only handle, inspect, preserve, restore, catalogue, research, program, promote, dream, think, and write about images, but also manufacture them! Film Museum makes films in a myriad possible ways. Some do it professionally, others as a late-night hobby. Some remain faithful to using analog film, others prefer to advance the digital future. Some strive to remind, shake, jolt, and stir, others to amuse, entertain, explore, or question. Some require hours to introduce horizons of their vision, others mere seconds. Majority directs, while several perform a set of similarly important cinematic tasks like writing, shooting, hand-processing, editing, drawing, painting, singing, performing, or sailing. Some are already established; others are talents of the future. But what binds us all together is the awareness that all approaches to cinema – from a purely theoretical to a wholly practical one – are all sides of a same coin: same sincere belief in the transformative power of images, a belief all the more precious in our contemporary era that seems to be heading in the opposite direction: that of deconstructing belief and devaluating images via their radical manipulation that has never been easier before. Join us as we celebrate the end of the 2025/26 program season with a small, joyfully and carelessly composed selection (yes, this series could easily have been three times as large) of our most intimate desires – and let's toast to the upcoming summer break in the anticipation of a new season in September. (Jurij Meden)
At the beginning of the Austrian Film Museum, one can find a monumental corpus of films handcrafted by one of Film Museum's famous founding fathers, filmmaker-turned-curator. On the other end of our time arrow, we find a similarly monumental film essay reflecting the passions of his worthy successor, curator-turned-filmmaker. And a closer look at the current diverse crew of enthusiasts who form the Film Museum reveals that almost half of us not only handle, inspect, preserve, restore, catalogue, research, program, promote, dream, think, and write about images, but also manufacture them! Film Museum makes films in a myriad possible ways. Some do it professionally, others as a late-night hobby. Some remain faithful to using analog film, others prefer to advance the digital future. Some strive to remind, shake, jolt, and stir, others to amuse, entertain, explore, or question. Some require hours to introduce horizons of their vision, others mere seconds. Majority directs, while several perform a set of similarly important cinematic tasks like writing, shooting, hand-processing, editing, drawing, painting, singing, performing, or sailing. Some are already established; others are talents of the future. But what binds us all together is the awareness that all approaches to cinema – from a purely theoretical to a wholly practical one – are all sides of a same coin: same sincere belief in the transformative power of images, a belief all the more precious in our contemporary era that seems to be heading in the opposite direction: that of deconstructing belief and devaluating images via their radical manipulation that has never been easier before. Join us as we celebrate the end of the 2025/26 program season with a small, joyfully and carelessly composed selection (yes, this series could easily have been three times as large) of our most intimate desires – and let's toast to the upcoming summer break in the anticipation of a new season in September. (Jurij Meden)