Austrian film has had some remarkable accomplishments in recent years. At the 2001 film festival in Cannes Michael Haneke's Die Klavierspielerin (The Piano Teacher, 2001) received three major awards: the Grand Prix of the Jury, as well as the awards for best actress (Isabelle Huppert) and best actor (Benoît Magimel); Jessica Hausner's feature debut Lovely Rita (2001) was accepted for screening at Cannes, as was Ruth Mader's short Nulldefizit (Zero Deficit, 2001). At the 1999 festival in Venice Nina Proll received the Mastroianni award for her superb performance in Barbara Albert's Nordrand (Northern Skirts), and in 2000 at Locarno the best acting award was given to the trio of Josef Hader, Joachim Bissmeier and Roland Düringer in Florian Flicker's Der Überfall (Holdup). Cabaret artist Düringer also starred in Harald Sicheritz's Hinterholz 8 (1998) which set an attendance record for Austrian film. Austrian film as cultural artifact and commodity thus seems to be thriving. However, for all these achievements at prestigious international film festivals and occasionally at the box-office, Austrian cinema culture and its film industry are at a precarious juncture where continued film production and traditional modes of exhibition face severe difficulties.