There are several reasons why the Viennale is the best film festival of its kind. The one most commonly cited by visiting filmmakers is that it’s invitation-only. There’s no regular submissions process: Every film in the program has been actively scouted and hand-selected, rather than watched through some substandard online platform. Another is that the Viennale is—but for a few local prizes and a FIPRESCI jury—competition-free, with its main program divided simply into fiction features and documentaries, in addition to special screenings and retrospectives. This means that the festival isn’t burdened by territorial quotas, which can often prove costly to quality control by including second-rate films in the name of diversity. It also allows the festival to be kept to a sensible size: Fourteen days isn’t especially short, but five daily screening slots across six auditoriums allows organizers to sustain that tricky logistical balance of appealing to a wide demographic.