Austria had a large film industry until 1938 and then had none, because the people who made it left or were killed — Lang, Zinnemann and von Stroheim were all born in Vienna and none of them worked there again. What returned after the war was mountains and operetta for a country that had decided it was a victim; what returned after that was the exact opposite, first an avant-garde that treated film as material and then a generation making cold, precisely framed films about the violence inside comfortable households. This shelf is almost entirely the second half of that sentence.