The premiere of Tizza Covi and Rainer Frimmel’s “The Loneliest Man in Town” at the signals a continued evolution for the filmmaking duo, moving further into the realm of fiction while still retaining the hallmarks of their character-driven approach. The film, starring Austrian blues musician Alois Koch – performing as a fictionalized version of himself – is already generating buzz for its melancholic tone and exploration of displacement and memory.
Covi and Frimmel have built a career on intimate portraits of individuals existing on the fringes of society. Their previous work, including “Babooska” (), “La Pivellina” (), “Mister Universo” (), and “Vera” (), consistently focused on the lives of circus performers, criminals, and figures steeped in a particular cultural history. “The Loneliest Man in Town” appears to be a natural extension of this fascination, centering on Koch as the last tenant in his Vienna apartment building, facing eviction as an investment group seeks to demolish the property.
The film’s narrative hinges on Koch’s stubborn refusal to leave his home, a space saturated with personal history and a tangible connection to a disappearing way of life. The synopsis details a series of escalating pressures from the developers – cutting off utilities, employing intimidation tactics – mirroring a scenario reminiscent of the struggle depicted in the Brazilian film “Aquarius.” This resistance isn’t simply about property rights. it’s a stand against the erasure of memory and the relentless march of modernization.
What distinguishes Covi and Frimmel’s approach is their blending of documentary and fictional elements. Koch isn’t an actor playing a role, but rather a musician inhabiting a heightened version of his own life. This blurring of lines allows the filmmakers to explore themes of authenticity and performance, questioning the very nature of storytelling. The film utilizes archival materials – 8mm footage, videotapes, and vinyl records – to construct a layered portrait of Koch’s past, offering glimpses into his musical aspirations and the cultural landscape of Vienna in decades past.
The film’s exploration of gentrification and the loss of community resonates with broader anxieties about urban change. The demolition of old buildings and the closure of local businesses are presented not as inevitable progress, but as a form of cultural vandalism. The film subtly suggests that with each demolished building, a piece of collective memory is lost, leaving behind a sense of alienation and displacement.
“The Loneliest Man in Town” isn’t the only Austrian film garnering attention at the Berlinale. Markus Schleinzer’s “Rose” is also receiving critical praise, and Sebastian Brameshuber’s “London” is in the competition. However, Covi and Frimmel’s film stands out for its unique blend of humor, melancholy, and social commentary.
Alongside Covi and Frimmel’s work, Noah Segan’s “The Only Living Pickpocket in New York” is also making waves in the Berlinale Special section. While tonally different, Segan’s film, starring John Turturro, also explores themes of nostalgia and the changing face of a city. The film centers on an aging pickpocket navigating a modern New York where cash is increasingly obsolete, and his skills are becoming antiquated. Like “The Loneliest Man in Town,” “The Only Living Pickpocket in New York” offers a poignant reflection on the challenges of adapting to a rapidly evolving world.
Segan’s film, described as a “love letter” to New York City, contrasts the protagonist’s old-school methods with the ruthlessness of contemporary crime. The narrative unfolds as a thriller when the pickpocket inadvertently steals a data stick containing a substantial sum of money from a mafia boss, leading to a desperate chase across the city. Turturro’s performance is being lauded for its charm and vulnerability, adding emotional depth to the film’s comedic and suspenseful elements.
Early critical reception, as reported by cannes-ratings.org, places “The Loneliest Man in Town” favorably within the competition, though specific ratings are still emerging. The film’s success at the Berlinale could signal a wider international release and further recognition for Covi and Frimmel’s distinctive filmmaking style. Both films, in their own ways, offer a compelling meditation on the passage of time, the fragility of memory, and the enduring power of human connection in a world undergoing constant transformation.
