A gloss on Frankenstein like nothing you’ve seen before, Hausner’s funny and philosophical latest follows two scientists (Emily Beecham and Ben Whishaw) as they develop a happiness-inducing plant that develops an agenda of its own. Beecham was awarded Best Actress at the Cannes Film Festival for her performance. A Magnolia Pictures release.

Hausner’s ravishingly stylized comic portrait of the 19th-century German haute bourgeoisie follows the romantic trials and tribulations of writer Heinrich von Kleist as he searches Berlin for that special someone with whom to enter into a double-suicide pact.

Irene (Franziska Weisz) arrives at the titular establishment to take a job as a desk attendant, only to learn that her predecessor has disappeared under mysterious circumstances, in Hausner’s vividly atmospheric psychological horror story.

Hausner’s ironic parable, about a wheelchair-bound woman (Sylvie Testud) miraculously cured on a Catholic pilgrimage, contemplates grace and the miraculous with a wry sense of humor and a subtly touching humanism.

In her debut feature, Jessica Hausner probes the uncanny banality of suburban malaise through the eyes of Rita, a teen girl riding sinister currents of adolescent anger and disillusionment.

Hausner won the “Lion of Tomorrow” prize at the 1996 Locarno Film Festival for the coming-of-age tale Flora, which packs plenty of tender and funny moments, pop songs, and quotidian observations into 25 touching minutes. In her mid-length film Inter-View, the story of a student who conducts interviews with strangers on the street is intercut with that of a young woman who sets about changing her life while contemplating the seeming impossibility of enduring happiness.

This video installation pays unnervingly close attention to domestic routine, portraying a young woman in the kitchen methodically preparing food. This quotidian ritual slowly comes to feel like a sort of obsessive sublimation of more obscure psychic energies.