Soldier Jane manages to surprise with every turn, is exquisitely shot and precisely edited. Additionally, Hoesl uses a strong score that also includes work by German musician Bettina Koester from the experimental, all-female new wave band Malaria as its own character, evoking a mysterious, luminous atmosphere. This is heightened by the intriguing casting: acclaimed theatre actress Johanna Orsini-Rosenberg is a member of the higher nobility herself (and apparently played Joan of Arc when she was ten), while Christina Reichsthaler used to work on an eco-farm herself.
Though being playful, Soldier Jane — which had its premiere in Sundance and won a prestigious Tiger award at the 2013 Rotterdam Film Festival — raises important questions about the role of money and hierarchy in our society. Hoesl, who made the film for only €65,000 with promisingly named production team European Film Conspiracy, addresses fundamental issues without being a morose or jaded activist, preferring a humorous approach to a radical appeal for change.
Susanne Schuetz, Fipresci member and arts editor at Rheinpfalz newspaper Read Article

This is one of the weirdest, funkiest outings to reach U.S. cinemas in quite some time, with an utterly bizarre premise.
Nathan Southern for   Read Article

Lauréat du Festival de Rotterdam, Soldate Jeannette est largement à la hauteur des récentes découvertes du festival néerlandais. Hors norme, excitant et déroutant, Soldate Jeannette est réalisé par un assistant d’Ulrich Seidl, le jeune Daniel Hoesl. Et il y a un mix inédit entre le meilleur du cinéma autrichien actuel et le meilleur de son voisin allemand. Au premier, Hoesl emprunte la froideur drolatique, où le rire semble inconvenant et surgit de situations dramatiques.
Nicolas Bardot for  Read Article

“Dryly funny pre-credits sequence follows unflappable fortysomething Fanni (a committed Johanna Orsini-Rosenberg) as she buys a designer dress at great expense, only to toss it straight into the nearest recycling bin. That sets the pace, tonally and thematically, for her ensuing adventures, as she is evicted from her plush, rent-overdue apartment, literally burns her remaining assets and takes a job on a rural piggery, where she finds a kindred spirit in rebellious farmhand Anna (Christina Reichsthaler). Any allegorical interpretations are as open-ended as Bettina Koester’s slamming techno-pop score is emphatic.
Variety review by Guy Lodge Read Article

„We are in Vienna, after all, and Daniel Hoesl’s serenely composed film without a script invites the mind to go on safari. The sales clerk in the urbane boutique, who introduces us to Fanni, played bewitchingly poker-faced by Johanna Orsini-Rosenberg, uses the language of fashion straight from the playground of Roland Barthes.“
Eye For Film review by Anne-Katrin Titze EyeForFilm Review

“As funny as Dogtooth and as silently observational as Bestiaire (…) From its very first moments, writer-director Daniel Hoesl’s Soldate Jeannette exhibits a practiced but seemingly effortless control that signals a filmmaker with utmost confidence in his material. The opening scene’s key object – a chic red dress – feels entirely at odds with the high register in which the wearer of said dress and the man selling it to her speak of it, as does the thumping electronic music that starts playing seconds later. The contrast is appealing, though, and gives a strong indication of the stylistic melange that awaits in Daniel Hoesl’s debut feature.”
Filmthreat review by Michael Nordine

And then there was “Soldate Jeannette”. If I don’t see another good movie for the rest of the festival, Jeannette has made it worthwhile.
Kartina Richardson for Read Article

“It’s possibly the most subdued film ever made about anarchic ethos, juxtaposing reductionist roles of the modern woman in town and country and then ripping the socially imposed box they’re expected to exist within to shreds.”, Robert Bell  Read Article

“This narrative feature by Austrian agent-provocateur artist Daniel Hoesl promises to be a challenging look into the intertwined lives of two women. Fanni is sick of her pampered life full of beautiful things. So she sets off on an Alpine trek until she meets Anna, a woman stuck in pig shit and farm life. With different goals in mind, Fanni and Anna become determined to redefine themselves.”

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