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An unreservedly matter-of-fact look at two young women who consider prostitution an adventure until reality catches up with them.

A portrait of a dedicated filmmaker who is a charming yet elusive figure in thrall to cinema and the constant perfection of his craft.

"Oh Yeah, She Performs!" is about four extraordinary women pursuing the same dream: composing, producing, and living from their own music--without compromising their ideals. A film about female musicians. Gustav, aka Eva Jantschitsch, allows us a glimpse into her creative process, her private home studio, the rundown cellar rooms where her band rehearses and backstage at her large concerts. She talks about the feeling of being exposed during performances, the pressure of people's expectations, and her role as a mother. Clara Luzia discusses the issues she encounters as a musician, such as her health problems and precarious financial situation. She plays and sings to packed audiences at big concerts and allows us to film her band recording an album in a desolate farmhouse and accompany her to interviews with inquisitive journalists. We first meet Teresa Rotschopf as the frontwoman of disco band "Bunny Lake". She gradually loosens her ties to the band and starts writing her own songs, which she records with Viennese star producer Patrick Pulsinger. The film follows her to New York City, where she performs her own compositions as a solo musician. Luise Pop, aka Vera Kropf, composes songs in the tradition of surf punk and Riot Girls. She sings, writes, fronts a band, and is an outstanding guitarist. We follow her to rehearsals in a garden cottage and on tour through Austria's neighboring countries and watch how she excels on her electric guitar and as a singer. The film revolves around the work of these four women, portraying subtle emotions that hint at the various identities and the struggle to reconcile private and public personalities. The editing style connects these very different characters and highlights the dynamic plot. A break, a bridge, a riff, a rhyme, a glint in the eye, stage fright: flashes leading to the next snapshot of Gustav, Clara Luzia, Teresa Rotschopf, and Luise Pop in their element: music.

A film filled with life and profound optimism about a group of Jewish children who grew up in Vienna and were part of the 'Children's Transport' their parents organized to rescue them from the Nazis in 1939. Today these orphaned and transported daughters live in New York, creating new lives and families in another part of the world--but never forgetting. This is their story of survival.

They are teenagers who fled crisis regions and undertook an extremely dangerous journey to Europe, all alone, hoping for one thing: to live. After arriving here, they fight to live normal lives, struggling against a system that demands they sacrifice their youth to an uncertain future.

The first documentary feature to take a look behind the scenes of where pop folk musical dreams are manufactured. It takes us on tours through tents at music festivals, to rural discos and TV shows featuring musician and singer Marc Pircher, and explores both the sunny and dark sides of the hit factory. An unsentimental look at the world of sentimental songs.

Ciao Chérie tells the story of people in a Viennese call shop, of great questions of origin and borders, of the search for closeness and the need for a connection to others. Calls over big distances, remittances to the homeland, the daily routine of the shop - created in a real setting, with laymen and actors, unscripted, improvisational and with pleasure for discovery. It is a film about the possibility of the impossibility of communication between humans and disappointments, hopes and difficulties as a result. A trip around the world in the tone, one space in the image.

A winning smile has its price. Friendliness is not a whim of nature: Whoever believes that a sales transaction is a more or less spontaneous interaction between two individuals is way off. Is the market reducing the people working in it to mindless agents?

Based on the portrait of the Mulberry and Grand Street junction, NYC in 1998, the film examines the search for a corner of the world to call our own.

I made a search for Ljiljana, my childhood, my homeland, in other words my past; it seemed that something insoluble was blocking my way. Sentimental images and memories clouded my view somewhat as I traveled through Bosnia-Herzegovina toward the sea. While tracking down our common past, I paid a visit to my homeland for the first time in eight years. The characters in this film are searching for a place of their own, a home, in the same way that I was searching for my childhood friend. My countrymen and women who fled to Vienna carry the burdens of their escape on their backs, and they later visit Bosnia in the futile hope of finding a part of their past and their homeland.

Nina Kusturica contributed to the Standard's special issue on migration. This is her short film Tomorrow is my Day along with much more on the topic.