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PROGRAMPRESENTATION
OCTOBER 24–NOVEMBER 6, 2013

VIENNALE PRESS OFFICE
press@viennale.at
01/526 59 47
Fredi Themel DW 30
Birgit Ecker DW 33
Antonella Cerullo DW 20
(Akkreditierungen)
PRESS OFFICE AT THE HILTON VIENNA
For the duration of the festival, the Viennale press office will be located in our traditional festival hotel,
the Hilton Vienna (Am Stadtpark, 1010 Vienna).
The office is open on October 24 from 12am to 6pm and as of October 25, daily from 10am to 7pm.
Press information, film stills and festival photos can be downloaded at: www.viennale.at/en/presse/download
VIENNALE – VIENNA INTERNATIONAL FILM FESTIVAL
Siebensterngasse 2
A-1070 Wien
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VIENNALE 2013
OCTOBER 24 TO NOVEMBER 6
PROGRAM OF THE VIENNALE 2013
About the Festival
Gala Screenings
A TRIBUTE TO WILL FERRELL
A TRIBUTE TO GONZALO GARCÍA PELAYO
IN FOCUS: JOHN TORRES
SPECIALS
A New Voice of Independent Philippine Cinema
WILD ETHNOGRAPHY
The Work of Harvard’s Sensory Ethnography Lab
ASIAN DELIGHTS
Examples of a New Asian Genre Cinema in 3D
THE GEOGRAPHY OF THE LABYRINTH
Tih-Minh and Out 1 – Two Great Serials of the History of Cinema by Louis Feuillade
and Jacques Rivette
THE RAW AND THE BOILED
Five Positions of Independent Experimental Cinema
REALITIES
An Archeology of Early Austrian Documentary Cinema
RETROSPECTIVE
Jerry Lewis

PROGRAM OF THE VIENNALE 2013
State of Grace
Filmmaking, François Truffaut once said, is an alchemistic art, an art of blending and enchanting. It’s a matter of
creating a connection between the individual cinematic elements and, according to Truffaut, putting them into a
“state of vibration.” This refers to the merging of actors, locations, light and dark, sound and silence as well as to
the blending of languages, expressions and emotions.
We’d like to borrow this definition of filmmaking for our festival. Our work, too, is a bit like alchemy: a connection
of forms, styles, genres, the old and the new, the familiar and the experimental, the small and the large format,
“the raw and the boiled” (as one of the festival programs is called), the many different elements of cinematography.
It’s not so much about the overwhelming, the plenty, the special, the so-called event. Much rather, our idea is to
create a kind of “state of grace” of cinema, a state of vibration, as Truffaut called it, a moment, which will, perhaps,
go beyond the scope of our festival.
About the Festival
Hans Hurch
International film festivals like the Viennale are increasingly turning into important forums, in which new, topical
cinema is being discussed. Beyond commercial events and productions determined by box offices, festivals have
meanwhile become one of the few establishments committed to the multi-faceted and vivid idea of cinema. And,
above all, devote themselves to putting this idea into practice. This may sound trivial, but actually means that certain
film festivals – and there is a world-wide family of festivals, which are partly connected through friendly relations
and solidarity – are the last and crucial bridge and connection between filmmakers and audiences.
This certainly doesn’t apply to all the films of this year’s Viennale
program, yet to the large majority. In addition to some works, which can
hope for relative economic success and have a local distributor, it is the
large number of little known, partly hidden works, which haven’t been
fed into the vast culture and media network, that film festivals need to
give the attention they deserve – even if it’s just temporarily and to a
limited extent.
The development of progressive monopolization, an economy that
defines all life and work situations and the resulting marginalization
L’Inconnu du lac
of alternative ways of production and existence has its cultural counterpart
in cinema.
Film festivals, which don’t primarily concentrate their attention on
the market, red-carpet shows and widespread event hysteria, are able
to open small niches of freedom, acting as an intermediary between individual
works, filmmakers, curious media and possible audiences.
The Viennale has set itself the task of being such a go-between, and
sometimes, perhaps, to play the role of a smuggler or black marketeer.
In the process, we have made, and are making, wonderful discoveries
Manakamana
of which we are proud. For example, the Viennale was the first festival
to direct special attention to little-known filmmakers, including Miguel Gomes, Denis Coté, Gianfranco Rosi, Shinji
Aoyama and Alain Guiraudie, to name but a few. Their new, much-noticed and internationally acclaimed films will
be presented at this year’s festival. Yet our work isn’t dominated by the patronizing and paternalistic attitude of
“discovering,”; rather by the idea that a festival can be an accomplice for the work of others.
The attitude that the Viennale has assumed towards young filmmakers is also valid for older, forgotten or underestimated
directors. Thus our festival was the first to re-introduce the work of significant artists such as Lino
Brocka, Emil de Antonio, Peter Nestler, Stephanie Rothman or Alberto Grifi and, in 2013, of the truly exceptional,

adical Spanish director Gonzalo García Pelayo, long presumed lost.
The counterpart to the Viennale’s joy of discovery is its long-standing loyalty and closeness to filmmakers, whose
works we have been carefully and attentively supporting over the years. In the meantime, there is now a large number
of them and we are honored and pleased that they entrust us with the premieres of their new films, as we don’t
take it for granted. In 2013, these include well-known and internationally renowned filmmakers such as the Argentinean
Edgardo Cozarinsky, the Portuguese Sandro Aguilar, the Spaniard Gonzalo García Pelayo and the old mavericks
Jean-Marie Straub and Klaus Lemke.
In 2013, the festival will once again be a place for discoveries and surprises, encounters and reunions. From big
cinema productions like BLUE JASMINE, FADING GIGOLO or NEBRASKA, and truly crucial films of this year, such
as L’INCONNU DU LAC, L’IMAGE MANQUANTE, MANAKAMANA or E AGORA? LEMBRA-ME, to largely unknown,
unique discoveries like DIE ZEIT VERGEHT WIE EIN BRÜLLENDER LÖWE, MILLE SOLEILS and P3ND3JO5 – the
Viennale 2013 program is as rich and varied as cinema itself, provided it isn’t subject to restrictions by the market
and cultural censorship.
And, finally, Viennale guests will be meeting one another here in Vienna, including Klaus Lemke and Claude
Lanzmann, Jean-Pierre Léaud and Jackie Stewart, Jean-Marie Straub and Will Ferrell. Yes, Will Ferrell, but that’s another
story. The Viennale is the first festival to dedicate an individual, comprehensive tribute to this great, wonderful
star comedian. In return, he’ll be bringing along a T-shirt with the words …
Gala Screenings
Similar to last year’s festival, the arc spanning the opening and closing films of the Viennale 2013 is extremely
wide-reaching. The opening film on October 24 is the bigger, ambitious work INSIDE LLEWYN DAVIS by the Coen
Brothers; the smaller, European debut film LOCKE by Steven Knight we’ll be presenting as the festival’s closing
film 13 days later, on November 6.
A highlight of the festival is the Austrian premiere of Claude Lanzmann’s
LE DERNIER DES INJUSTES (THE LAST OF THE UNJUST), a
three-and-a-half-hour documentary on the Viennese rabbi and last
president of the Jewish Council in Theresienstadt, Benjamin Murmelstein.
On October 27, in the presence of the director.
A completely different evening is dedicated to the legendary racing
driver Jackie Stewart on October 28. In the presence of Sir Jackie, the
Viennale will present the documentary WEEKEND OF A CHAMPION,
filmed in 1972 and reshown at this year’s Cannes film festival, by and
Inside Llewyn Davis
with Jackie Stewart and Roman Polanski.
The ten-film tribute devoted to the American star comedian Will
Ferrell will see its crowning finale on November 6 with a gala screening
of the legendary film ANCHORMAN: THE LEGEND OF RON BUR-
GUNDY, presented by Will Ferrell and followed by a podium
discussion with the Viennale guest.
Le Dernier des injustes

A TRIBUTE TO WILL FERRELL
In today’s Hollywood cinema, which isn’t exactly bursting with
intelligence, inventiveness and originality, the so-called New
American Comedy is considered one of the few exceptions in
everyday production, as a kind of genre in itself, a genre that
has stood out for some years now with precisely the features
that others lack: intelligence, inventiveness and originality.
Acting as guarantors for it, although not always on a consistently
high level, are names such as Ben Stiller, Owen Wilson,
Adam Sandler, Judd Apatow, the Farelly Brothers and some others.
Possibly the most outstanding figure of the group known
as “Frat Pack” is the actor and co-author of a series of terrific
comedies, Will Ferrell.
Born in 1967, Ferrell began his career, like many of his colleagues, on the comedy show “Saturday Night
Live,”before he became an absolute cult figure with a series of film comedies starting in around 2000, and one of
the best-paid American actors of the decade. In OLD SCHOOL (2002), ANCHORMAN: THE LEGEND OF RON BUR-
GUNDY (2004), TALLADEGA NIGHTS (2006), BLADES OF GLORY (2006) and STEP BROTHERS (2008) Will Ferrell
developed a completely independent, personal kind of comedy, which mainly thrives on the interplay of gestural,
motoric and verbal idiosyncrasies – a sort of “Ferrell Touch,” in which the infantile, the narcissistic, the desperate
and the manly form a hitherto unknown alliance. It often seems as if he were acting in front of a mirror rather
than the camera, as the Australian critic Adrian Martin noted, referring to the somnambulistic and regressive impression
of his figures that starkly contrast with the virile and physical presence of Will Ferrell.
The Viennale is the first international festival to dedicate a tribute to the exceptional comedian Will Ferrell,
presenting a selection of ten feature-length films and programs, including the rarely shown WILL FERRELL:
YOU’RE WELCOME AMERICA. A FINAL NIGHT WITH GEORGE W. BUSH (2009) and CASA DE MI PADRE (2012)
and a series of sketches from SATURDAY NIGHT LIVE and the comedy website Funny or Die. “I’m flattered,” says
Ferrell, who will be coming to Vienna for the festival. Surprises included.
A TRIBUTE TO GONZALO GARCÍA PELAYO
With Gonzalo García Pelayo, the Viennale presents a great mystery
man of Spanish cinema, a director whose work has never
been shown in its entirety outside his home country. Comprising
merely five films, created between 1976 and 1982, Pelayo’s
œuvre is characterized by the historic moment of transition following
the end of Franco’s dictatorship and deeply rooted in the
history and people of his native Andalusia.
His films are a strangely hybrid and iridescent combination
of folkloristic aspects, experimental cinema, erotic obsessions
and wild stylistic inconsistencies, carried by a great love of
music as well as the language and landscapes of southern
Spain. An ever-surprising confrontation of subtle, cinematographic interventions and the rough gesture of a great
primitive. In his most important works, MANUELA (1976), VIVIR EN SEVILLA (1978) and ROCíO Y JOSé (1982),
Pelayo’s iconoclastic creative work shifts between such different genres as melodrama, essay, documentary and
soft porn.
Since 1982, “abandoned by cinema,” as he claims, the adventurer and gambler Gonzalo García Pelayo has
been dedicating himself to music production, the organization of bullfights, and, finally, along with his brothers,

to systematic gambling. Casino Vienna, too, can tell you a thing or two about that, as he relieved it of a few million
schillings in the 1980s.
It wasn’t until this year that Pelayo returned to the cinema after more than 30 years to create a new work,
ALEGRíAS DE CáDIZ, which will have its world premiere at the Viennale.
A program curated by Álvaro Arroba.
IN FOCUS
John Torres
A new voice of independent philippine cinema
For some years now, Philippine Cinema has been represented
in the Western film and festival scene by a number of outstanding
names and directors who are all regarded as part of a
new, cultural indie-movement in their home country. Upon
closer examination, this movement turns out to be extremely
differentiated and varied. In addition to the so-called longestserving
master of this generation, Lav Diaz, the meanwhile renowned
Raya Martin, the highly active Kahvn de la Cruz and
Sherad Anthony Sanchez, to mention just the best known,
John Torres (b. 1975) is one of the most interesting and promising
figures of new Philippine cinema.
With four feature-length films, created between 2006 and today, Torres has proven to be the most political
and private director among his colleagues. His work is characterized by a magic realism, which doesn’t confront
the social and political situation in his home country as obviously and radically as, for example, Lav Diaz, but
rather in a subtle and experimental form of cinematic poetry, in a vivid blending of topical history with elements
of animistic, traditional culture and customs, in a kind of cinematic parallel cosmos, imbued with extremely realistic
challenges and circumstances of the constitution of his country and culture.
As his small oeuvre – from his 2006 debut TODO TODO TOROS to his most recent film, LUKAS NINO (2013) –
grows, John Torres demonstrates an amazing development, an ever-more confident and concise work with cinematic
material and increasing freedom and liveliness in the invention and depiction of his figures and stories.
With the program dedicated to the young Filipino director, the Viennale is the first festival to show almost all
his short films as well as his four feature films.
In the presence of John Torres.

SPECIAL PROGRAMS
Realities
An Archeology of Early Austrian Documentary Cinema
Expeditions into the pioneering years of cinema inevitably lead to terra incognita due to its fragmentary state of
preservation. Thus, all the extant materials are important reference points for an initial survey of the fascinating
cosmos of early moving images. Presented as part of the Viennale 2013, the Filmarchiv program “Realities” provides
the first compact overview of the early history of Austrian documentary cinema.
Many of the films are a more than 100 years old, taking us back to the time of the fin de siècle, the last years
of the Habsburg monarchy. The first documentary filmmakers are confronted with a changing world: speed, acceleration,
electrification, the rise of mass media and new social forces, such as the women’s and labor movement,
urbanization and the emerging globalization of all spheres of life characterized a period, which radically broke
with the past, steering towards an uncertain future. These realities of a world out of joint form the historico-cultural
framework of the cinematographic appropriation of reality. The film program retraces ideas, approaches,
and, ultimately, the self-conception of the documentarians, revealing the tracks of Austrian film pioneers’ earliest
attempts of rendering the world in moving images. The programs include a large number of newly restored films,
which will be accompanied by the contemporary live music of renowned Austrian and international musicians.
A Filmarchiv Austria program, curated by Ernst Kieninger, Nikolaus Wostry and Karl Wratschko.
Wild Ethnography
The Work of Harvard’s Sensory Ethnography Lab
Within a few years, a department at Harvard University in Boston, USA, has become one of the most interesting
and exciting production facilities for current documentary cinema in the world.
The so-called Sensory Ethnography Lab (SEL), however, is not a department for classic documentary film in
the strict sense of the word, but rather an open place for cinematographic research and experiments. It is a seismographic
laboratory of images and sounds that has largely distanced itself from conventional documentary
practices and ethnographic ideas, creating its own, fascinating cosmos of audiovisual productions.
The Viennale is the first international festival to dedicate a special program to SEL, documenting the wide variety
and sensory fascination of this lab’s various working methods and productions.
In recent years, several films created in Harvard have attracted great international attention and received a
number of prizes, including SWEETGRASS by Lucien Castaing-Taylor, FOREIGN PARTS by Verena Paravel and J.P.
Sniadecki, LEVIATHAN by Verena Paravel and Lucien Castaing-Taylor, and, most recently, Stephanie Spray’s and
Pacho Velez’s MANAKAMANA, which was awarded a Golden Leopard at the 2013 Locarno Film Festival. From the
rural work with flocks of sheep to the micro-economics of spare-part car dealership in Brooklyn, from industrial
fishing to pilgrimage traditions in Nepal – the realities and worlds that SEL films devote themselves to and explore
are as rich, surprising and multi-faceted as the sensory approaches and specific cinematic work of the filmmakers
themselves.
Asian Delights
Examples of a New Asian Genre Cinema in 3D
While the feeling is that the 3D boom in Hollywood has almost passed its zenith, Asia is still approaching 3D with
a far more open mind. A small, but spectacular midnight program of the Viennale 2013 will present six current
3D films, which were well received in their respective countries of origin.
The legend of the cheeky monkey king Sun Wukong, who takes on the powers of heaven, has been filmed in
the Chinese cultural sphere numerous times in the past. The imaginative animated cartoon THE MONKEY KING:
UPROAR IN HEAVEN (DA NAO TIAN GONG, 1961/1964) by Su Da and Chen Zhihong is regarded as the most famous
version. In 2012 this classic was completely restored and adapted to 3D. The tremendous box-office success
of JOURNEY TO THE WEST: CONQUERING THE DEMONS (XI YOU XIANG MO PIAN, 2013), directed by Hong Kong’s
star comedian Stephen Chow, proves the undiminished popularity of the subject matter.

Hong Kong’s 3D production also draws on the city’s rich cinematic legacy. Andrew Lau (INFERNAL AFFAIRS)
shot a remake of a Shaw Brothers classic from the year 1979, entitled THE GUILLOTINES (XUE DI ZI, 2012), which
is both an action-packed and philosophical parable about an imperial élite unit that becomes enmeshed in the
wheels of history. Stephen Fung’s TAI CHI HERO (TAIJI YINGXIONG JUEQI, 2012) picks up the thread of his action
film TAI CHI ZERO.
Vikram Bhatt, the grandson of film pioneer Vijay Bhatt, shot the first Indian 3D film with HAUNTED (2011),
scoring great success with his story about a haunted house. Perhaps the biggest surprise of the program is the
sword-combat 3D film THE LADY ASSASSIN (MY NHAN KE, 2013) by Nguyen Quang Dung – a spectacular example
of Vietnamese action cinema, which is absolutely unknown in this part of the world.
Curated by Andreas Ungerböck and Leo Moser.
The Geography of the Labyrinth
Tih-Minh and Out 1 – Two Great Serials of the History of Cinema by Louis Feuillade
and Jacques Rivette
“TV is better than the movies” has recently been a recurring argument in view of new, innovative and primarily
American TV formats. This refers to a number of US television serials, which for the past ten years have been
venerated like a kind of cult by critics, connoisseurs and selected audiences alike. Indeed, actual “sophisticated
communities” have been established around individual series, and these news forms have also found their way
into the program of film festivals. Of course, the characteristic feature of these formats lies in their nature of succession,
continuation – essentially in the serial as such.
Revolving around this idea of the serial, which is as old as the history of cinema, is a double program of this
year’s Viennale. It consists of two unconventional as well as central examples – two moments, in which cinema
reinvents itself in its continuation.
The first is the almost seven-hour, twelve-episode serial TIH-MINH (1918) by Louis Feuillade, a production
that has always been overshadowed by his legendary LES VAMPIRES, but is probably the director’s richest and
most mature work. And the second is Jacques Rivette’s mysterious film fleuve OUT1: NOLI ME TANGERE, an unparalleled
twelve-hour cinematic daydream in eight episodes that has hardly ever been shown in its entirety.
Both are fantastic stories of amnesia, paranoia and conspiracy; both reveal exorbitant parallel worlds of collapsing
collectives, dissolving certainties and labyrinthine tales. According to Jonathan Rosenbaum, the one is
the bourgeoisie’s attempt at self-reflection following the horrors of the First World War, the other the reflection of
bohemian society after the shattered hopes of 1968. Two major, magnificent film serials, connected underground
over half a century. Cinema as the better cinema.
The Raw and the Boiled
Five Positions of Independent Experimental Cinema
Last year, the Viennale introduced a compiled special program, consisting of mainly avant-garde works by a number
of female directors, from the Argentinean doyenne Narcisa Hirsch to the young French filmmaker Mati Diop.
This interesting and successful program format will be continued this year with five further positions of experimental,
independent cinema of greatly varying moments, which, however, are linked through their political and
aesthetic relevance, and, above all, through their conscious and reflective dealing with cinematic footage and its
implications.
The program ranges from political montage and agitation films by the late († 2003) Afro-Cuban director Nicolás
Guillén Landrián, who was partly ostracized in Cuba, to the completely independent, playful experiments with
space, time and movement by the young Austrian filmmaker Johann Lurf. From the subtle feminist abstractions of
the American Jennifer Reeder to the pure playing and experimentation with cinematic dispositives in the form of
actionist interventions by the artist duo Gibson/Recode. And, finally, there’s the fascinating, minimalist spatial surveying
by filmmaker Claudia Larcher, movements between mathematical abstraction and cinematographic frenzy.
“The Raw and the Boiled” of cinema is not so much the sum of the cinematic works presented here, but rather
an example of the multi-faceted, individual artistic and aesthetic practices, which are loosely and temporarily
connected in this program of the Viennale 2013.

RETROSPECTIVE
JERRY LEWIS
“A Jerry Lewis retrospective in a German-speaking country? Fantastic! I never thought I’d live to see the day! Can
you recommend a cheap hotel in Vienna?” “Good grief! Who in the world would want to see that? You Europeans
still like Lewis? Unbelievable!”
These two early reactions to the announcement of the 2013 Jerry Lewis retrospective reflect two classic and opposing
camps of film enthusiasts. The first – now in their third generation – primarily reside in Europe and have
venerated the American actor Jerry Lewis since the 1960s. They regard him as the rightful heir to the great classic
film comedians Chaplin, Keaton and Laurel & Hardy, indeed, as the comic actor of American cinema since the
beginning of the sound-film area. They especially admire his extremely physical, grotesque performances and
the true-to-character manner in which he stages his own films as a director. To them, Lewis is an auteur par excellence
– a fully accomplished artist whose films exude a certain aroma in practically every detail and once
you’ve picked up the scent, you become addicted to its sweet fragrance. The film-lovers of the other camp see the
same qualities in Lewis’s oeuvre, sense the same aroma, and are still shaking their heads three generations later.
They consider Lewis to be an egocentric attention-seeker, who has chosen the wrong medium and who should
have stuck with theater, an unsophisticated popular clown lacking urban wit.
Where exactly Jerry Lewis – one may say “the phenomenon Lewis” – marks the dividing line between these two
camps, which in turn stand for two cultural orientations, has been a great, fascinating question in the history of
film that has never really been answered. It also touches upon an issue that is often bashfully brushed aside, as
if one were referring to sexual preferences: HOW am I laughing? Loudly? Unrestrainedly? On the sly? From the
head or from the heart? WHAT actually makes me laugh? Puns? Earthiness? Irony? The absurd? Do I enjoy the
playfulness of comedy? For instance, the playfulness of a lanky and almost absurdly elastic body that displays
an incredible suppleness in the “silliness” with which it, for example, is constantly falling down? Do I enjoy this
suppleness, does it whet my appetite for more? These are some of the essential and intimate questions that “the
phenomenon Lewis” has been posing to audiences time and again for decades, long before any critical reflection.
And the answer is clear.
It is mainly as an “emotive body” – one that provokes physical reactions in the audience through its very nature
and expressive power − that the audience of the great Viennale and Filmmuseum retrospective will perceive Jerry
Lewis in a program of more than 30 films, selected TV productions and a comprehensive documentary. We will
have to be careful in watching this man who was born in New Jersey 87 years ago as Joseph Levitch and started
his career as a pantomime: he has given new meaning to the phrase “I laughed until my sides were aching!”
A German-language catalogue on Jerry Lewis will be published on the occasion of the retrospective, including
new and classic essays, selected interviews, autobiographical material and reviews of all the films shown during
this tribute.
A RETROSPECTIVE BY VIENNALE AND AUSTRIAN FILM MUSEUM
October 18 to November 24, 2013
Österreichisches Filmmuseum, Augustinerstraße 1, 1010 Vienna
Tel. +43/1/533 70 54 • www.filmmuseum.at