|
Alexander Horwath
Wien |
Ekkehard Knörer
cargo |
Hannah Pilarczyk
Spiegel |
Bert Rebhandl
cargo |
Simon Rothöhler
cargo |
|
|
Burning
(Lee Chang-dong, 2018)
|
75
|
73
|
82
|
80
|
|
77,5
|
|
Oray
(Mehmet Akif Büyükatalay, 2019)
|
|
|
73
|
82
|
|
77,5
|
|
Diamantino
(Gabriel Abrantes & Daniel Schmidt, 2018)
|
72
|
|
74
|
77
|
|
74,3
|
|
All My Loving
(Edward Berger, 2019)
|
|
|
|
72
|
|
72
|
|
Mir ist es egal, wenn wir als Barbaren in die Geschichten eingehen
(Radu Jude, 2018)
|
44
|
|
86
|
78
|
|
69,3
|
|
Zwischen den Zeilen (Doubles vies)
(Olivier Assayas, 2018)
|
79
|
33
|
70
|
81
|
68
|
66,2
|
|
High Life
(Claire Denis, 2018)
|
63
|
|
80
|
38
|
|
60,3
|
|
Roads
(Sebastian Schipper, 2018)
|
|
|
50
|
67
|
|
58,5
|
|
Sunset (Napszállta)
(László Nemes, 2018)
|
11
|
|
83
|
78
|
|
57,3
|
|
Der Boden unter den Füßen
(Marie Kreutzer, 2019)
|
44
|
|
55
|
71
|
|
56,7
|
|
Men in Black: International
(F. Gary Gray, 2019)
|
|
|
|
54
|
|
54
|
|
The Wild Boys
(Bertrand Mandico, 2017)
|
40
|
|
|
66
|
|
53
|
|
The Dead Don’t Die
(Jim Jarmusch, 2019)
|
55
|
|
44
|
59
|
|
52,7
|
|
Rocketman
(Dexter Fletcher, 2019)
|
|
|
54
|
44
|
|
49
|