Austria

In the heart of Central Europe, where the histories of empires, migrations, and political borders intertwine, Vienna occupies a special place. A city that has long served as a cultural, political, and intellectual centre, provides a valuable backdrop for the retrospective Oriente Vzhod / Occidente Zahod – Border in Film and History. At a time when Europe is once again debating its identity, the role of borders, and the future of its communities, the retrospective in Vienna creates a space for cinematic reflection on a past that continues to shape our present.

The host of the retrospective is the prestigious Austrian Film Museum, one of the most important film institutions in Europe. For decades, the museum has shaped the understanding of film art through curatorial excellence, archival preservation, and theoretical reflection. We have enjoyed a fruitful collaboration with the museum for many years, between 2022 and 2024, they invaluably contributed to the international symposia and professional discussions that served as precursors to the retrospective and laid the foundation for its program.

The retrospective is supported by key partners who enrich the event’s content and contribute to its broader reach. SKICA (Slovene Cultural and Information Centre), dedicated to promoting the Slovene language, culture, and arts in Austria, is a valuable partner of the retrospective. Similarly, the Italian Cultural Institute, with its long-standing tradition of fostering cultural and educational exchanges between Italy and Austria, makes a significant contribution to the international dimension of the retrospective.

From June 17 to 20, a thoughtfully curated collection of films will be presented to the Viennese audience under the title Fortress Europe. The program brings together works that explore the intimate, economic, and political circumstances surrounding both forced and voluntary migration. Films such as Newsreel 670 – Red Forests (2022, Nika Autor), TIR (2013, Alberto Fasulo), The Border (1996, Franco Giraldi), Trieste Shines at Night (2022, Matteo Calore, Andrea Segre, Stefano Collizzolli), Don’t Come Back the Same Way (1965, Jože Babič), and Fortress Europe (2001, Želimir Žilnik) illustrate how Europe, which is supposed to be a land without borders, often functions as a heavily fortified fortress, preventing many from entering through the main gate.

Thus, the retrospective in Vienna opens an important space for reflection on historical and contemporary forms of exclusion, and on who is considered a foreigner in Europe today—and why.