Im Wiener Prater is not about the amusement park that one normally associates with this name. The spectacle in the film takes place in a much more basic sense. Right at the start, we see a camera tripod left standing, and instead, the filmmaker has set off to track down a woman (artist Martina L.). Carefully, concealed—with a thoroughly male-coded gaze—she approaches the unsuspecting woman who is out taking a walk. What we are then shown, a close-up of a woman urinating, activates a quasi-childish delight in investigating taboos: Evident here are both a conscious reference to Viennese Actionism and the counterpart to one of Gröller´s early films, Boston Steamer (2009) about the process of anal excretion. Yet rather than the close-ups of anatomical details and the associated sexualization, what is actually `unsettling´ about Im Wiener Prater is the gaze forced upon the viewer: this woman looks at us, questioning and self-confidently—now that´s pure cinema of attraction.
A thief with a unique code of professional ethics is double-crossed by his crew and left for dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew's latest heist.
Iconoclastic, take-no-prisoners cop John McClane, finds himself for the first time on foreign soil after traveling to Moscow to help his wayward son Jack - unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist.
Young princess Anna of Arendelle dreams about finding true love at her sister Elsa’s coronation. Fate takes her on a dangerous journey in an attempt to end the eternal winter that has fallen over the kingdom.
When the White House (Secret Service Code: "Olympus") is captured by a terrorist mastermind and the President is kidnapped, disgraced former Presidential guard Mike Banning finds himself trapped within the building.