The best David Oberkogler’s movies

A portrait of Austrian artist Gustav Klimt whose lavish, sexual paintings came to symbolize the art nouveau style of the late 19th and early 20th century.

Although to the outside world he seems like the a perfectly normal insurance broker, Michael secretly keeps a 10-year-old boy, Wolfgang locked in a room in his soundproof basement.

The insurance salesman Vincent Baumann, a cold-blooded careerist and minion of a merciless system, becomes a victim of the very corporations he is representing. Degraded to a henchman he grimly struggles to get back on the job market. He fights to climb the social ladder. In the process he realizes that there are other values than income and success. He decides against his previous ideology and for another human being, for Lisa Sokulowa. They don’t have a future. But they celebrate a small triumph against the dominance of the ruling system.

A movie based on the book by Christine Nöstlinger “Maikäfer, flieg! Mein Vater, das Kriegsende, Cohn und ich”

Riding on their tuned-up bikes, Mati and her posse of male friends intimidate their neighborhood and harass the girls. In their village, they rule. But when her closest pal Sebastian falls in love with Mati and her enemy Carla unexpectedly turns into a friend, Mati is in danger of losing her standing among her male friends. Meanwhile Mati’s parents have a decision to make: What's more important, appearances or reality?

Three couples in Vienna have children at around the same time. They're all in their mid-30s, successful, cool and live in a popular part of town. As idealistic as they are materialistic, they grow tomatoes on the balcony, drink locally roasted coffee and expensive cocktails and would never buy an electronic device sporting a half-eaten apple. And they're absolutely certain that you can have children without becoming bourgeois. But the reality tells a different story. Between career and kindergarten, Apple and alternative lifestyles, the satire plays cleverly with hipster clichés and mercilessly points up the gap between the old self-image and the new bourgeoisie.