In a remote forest, deaf-mute Iris locks herself in her van after receiving ominous photographs that reveal she’s not alone.

In the short film “Iris,” a young couple embarks on a night in a remote forest in their van. When the young man briefly departs, their conversation in sign language reveals Iris to be deaf and mute. Once alone, Iris’ evening takes a sinister turn when she receives a series of ominous messages on her phone. These messages contain secretly taken photos of her in various locations, culminating in an image of the van at its current remote spot. It becomes clear that Iris is not alone. Fearing for her safety, she locks herself inside the van, draws the curtains shut, and turns off the lights, plunging herself into darkness and complete isolation.

Iris was largely realised by the team behind Allerseelen, again being co-produced by Alexandra Bogner, featuring cinematography by Niklas Strahammer and a story co-written with Simona Ascher and being written, directed as well as featuring a score by Michael J. Keplinger. Unlike Allerseelen, Flora Pauer stars in the film’s title role, with Wieland Lackinger in a supporting role. Sophie Schaller serves as the gaffer.

The short film was a finalist at the Flatness Film Awards 2024. Also, it was awarded a gold medal and special awards for remarkable direction, remarkable picture design and remarkable sound design as well as being named Upper Austrian Regional champion at the Festival der Film-Autoren Salzburg & Oberösterreich.

Iris premiered on 2 May 2024 at the Crossing Europe Film Festival.

Attend the premiere at Crossing Europe Film Festival
Central Linz, 2 May 2024, at 10 PM (CEST) – The premiere is currently taking place.
Tickets are available at

Received access code? Click here:

Press kit

Short film (9 min)

director, writer, composer & producer
Michael J. Keplinger
producer & production manager
Alexandra Bogner
story writer
Simona Ascher
director of photography
Niklas Strahammer
Flora Pauer & Wieland Lackinger

(…) the music was used discreetly, without ever getting loud, it was more intense, but still quiet. And the lighting was (…) absolutely superbly done.

T. Wallner (VÖFA juror, translated)

Not only the lighting or the camera but also the acoustic design (…) was excellent. These subtle heart sounds that I heard. (…) For me, that was excellent.

R. Wagner (VÖFA juror, translated)