Seite - 148 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

148 siting futurity Edukators to international renown, to what figured imaginative- ly, if not in reality, as an outmoded medium.4 For his next film, the 2011 Die Summe meiner einzelnen Teile [Hut in the Woods, lit. The Sum of My Individual Parts], Weingart ner returned to the realm of psychiatry in depicting the plight of a man with hallucinations, played by a little known actor from the former GDR, Peter Schneider, who is released from a psychiatric clinic, makes a home for himself in the forest and befriends a young Russian boy there before again being institutionalized. His latest film, the 2018 303, is a romantic road movie that takes its inspira- tion from Linklater’s Before Sunrise (on which Weingart ner had worked as a production assistant and in which he had a cameo appearance) and has its picture-perfect blonde leads (played by Mala Emde and Anton Spieker) engage in intricate, well-in- formed debate on issues such as the “Vereinzelungsstrategie des Kapitalismus” [“capitalism’s strategy of individualizing”] and free love (Taylor 2018).5 4 Sabine Hake offers a good overview of the realities of German film financ- ing in the “film-making in the new Germany and a unified Europe” section of the second edition of German National Cinema, in which she explicitly mentions the growing influence of television channels: “In addition to the public television channels such as WDR [Westdeutscher Rundfunk], MDR [Mitteldeutscher Runkfunk], and NDR [Norddeutscherrundfunk], the Franco-German cultural channel Arte, founded in 1992, plays an ever more important role in the financing of European co-productions” (193). One notes that both Die fetten Jahre and Free Rainer are German-Austrian co-productions, while his two more recent films were strictly German productions. In an interview about Free Rainer’s lack of box-office success, Weingart ner commented on the irony that more viewers will see his cri- tique of television on television than in the cinema (“Der Tod des Kinos” n.d.). 5 The seven-year gap between 303 and Hut in the Woods speaks to the difficulty Weingart ner had in making his latest venture as a German televi- sion company withdrew its financing at the last minute and others proved, perhaps unsurprisingly, less than keen to support him. As he put it, he had to “wieder Klinken putzen gehen und das Geld zusammenkratzen. Ich konnte das selbst nicht glauben. Die Fernsehsender und Filmförderungen wollten den Film einfach nicht” [“go door-to-door and cobble the money together again. I myself could not believe it. The television channels and film boards simply didn’t want the film”] (B. Reiter 2018). That Weingart-