Ohjaus:
Jessica HausnerKäsikirjoitus:
Jessica HausnerKuvaus:
Martin GschlachtSävellys:
Nicolas Tran TrongNäyttelijät:
Birte Schnoeink, Christian Friedel, Stephan Grossmann, Marc Bischoff, Sebastian Hülk, Sandra Hüller, Katharina Schüttler, Gustav Peter Wöhler (lisää)Suoratoistopalvelut (1)
Juonikuvaukset(1)
Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his sceptical cousin Marie to join him in a suicide pact. It is whilst coming to terms with this refusal, ineffably distressed by his cousin's insensitivity to the depth of his feelings, that Heinrich meets Henriette, the wife of a business acquaintance. Heinrich's subsequent offer to the beguiling young woman at first holds scant appeal, that
is until Henriette discovers she is suffering from a terminal illness.
(jakelijan virallinen teksti)
Videot (3)
Arvostelut (3)
The title could not have been better chosen. Right from the start, however, I suspected that this would be a spectacle for the strong-minded. It was hard to get through the killing monotony until the end. However, one cannot deny a certain charm to this film spiced up with a considerable dose of irony. At times, I felt like I was watching a puppet theater, and even the attire of the characters seemed to suggest so, perhaps emphasizing Jessica Hausner's indictment of the society of that time. In contrast to the individual static scenes, a large dog occasionally appeared in the frame, which at certain moments drew attention to itself a bit inappropriately. I was literally fascinated by the persistent, at times almost unbearable musical prelude, and during the closing credits, not a single note was heard. Oh, the irony of it all! There are probably many more peculiarities and subtle nuances, but that would take several viewings and I lack the patience for that. I think I enjoyed the film abundantly even without it. (60%)
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I liked the concept, I think it’s interesting, purposeful and stimulating. Hausner sticks to it so fiercely and persistently that at least half-way through it was already a soul crushing experience. And this despite the fact that I got the funny irony towards those useless human beings drowning in their own imaginary existential crises. Her previous film, Lourdes, was fun from beginning to end, but this one hurt.
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It's an interesting story set in an unexpected setting, although it's true that the period makes it work a little differently than it would in the present day. Nevertheless, I can't help but feel like the film relies on a certain caricature as if it's all just a dramatic pose that ultimately doesn't work.
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Kuvagalleria (29)
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