In her class Miss Novak warns her students against eating without awareness. Every morsel on a fork should be examined closely, every bite considered carefully. At some point, her students reach the stage where they can regard intake of food as a dispensable ballast on their journey to a better world. In CLUB ZERO, Jessica Hausner observes how power creeps up silently, and how faith quietly eats away at reason.
 

When Jessica Hausner began studying Directing at the Vienna Film Academy in the early 1990s she felt not only that powerful female role models in the cinematic arts were lacking but also that there was not sufficient encouraging feedback about her own early narrative attempts. The short film Inter-View marked the conclusion of her studies and the beginning of a career which took her straight to the top festivals of Cannes and Venice. From that moment on there was no lack of resonance. Now Jessica Hausner is returning to the place where she began her artistic endeavors as Professor of Directing – the first woman in almost 70 years of Film Academy history to hold that position.

Alice’s son Joe satisfies her maternal needs, and in her career she has also achieved tangible success: the flower she has genetically engineered, Little Joe, is a beautiful sight which promises to bring happiness to everyone around it. But suddenly things seem to turn against Alice in almost indefinable ways. In her fifth feature film, LITTLE JOE, Jessica Hausner unleashes the forces of cinema only to have them combine in virtuoso fashion, creating on film a homage to doubt.

... between what people say and what they think.» Jessica Hausner on her new film AMOUR FOU, selected for the UN CERTAIN REGARD line-up of the 67^th Cannes festival.

Jessica Hausner returns to Cannes: AMOUR FOU, her forth feature length film, is invited to UN CERTAIN REGARD.

«Mir ging es darum, dass jemand, der den Film sieht, vermuten kann, dass sich hinter der Oberfläche der Dinge wirklich anderes befindet und das tut es auch. Was dieses andere ist, das kann weder Namen noch Gesicht haben. Ich habe das Gefühl, worum es eigentlich geht, das liegt zwischen den Bildern.» Jessica Hausner über ihren zweiten Langfilm Hotel

«Was geht in diesem Mädchen vor. Weiß die, was sie da getan hat? Kann sie sagen, dass sie es bereut? Welche Möglichkeiten gibt es, so eine Tat zu beschreiben oder in irgendein Wertesystem einzuordnen? Das ist genau die Frage, die der Film stellt.» Jessica Hausner über Lovely Rita.

Jessica Hausner hielt, was sie versprach. Nachdem Cannes' Nachwuchsschiene Cinéfondation schon 1999 ihren Kurzfilm Inter-View auszeichnete, ist sie nun zwei Jahre später wieder Gast beim prestigereichen Festival. Ihr Spielfilmdebüt Lovely Rita hat in der Reihe Un Certain Regard der Sélection officielle von Cannes Premiere.