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The Hummel (Theater Review) Adopted

The Hummel

The Hummel was in the sixth Zurich Film Festival shown.

Content:

Pit is representative for beauty products and trying to make the impression of the successful privately Sauber's. His motto: who risks nothing, risking their lives. But behind the facade there is already no longer as good as he wants himself and others to believe. Pit is divorced, the relationship with the adult son is supercooled and financially it is far from the black. In addition, it has the cynicism of his daily work, while he dishes up old ladies smiling lies, inside almost meaningless.
Before he give up his SUV and send its expensive housing needs, dedicated to pit in his need the so-called "hot springs". He meldet sich also bei alten Schulfreunden und Bekannten, lädt sie der guten alten Zeiten wegen zu einem Essen ein und versucht dabei, ihnen seine Produkte anzudrehen. Darunter ist etwa auch Christiane (Inka Friedrich), seine Jugendliebe. Da beginnt Pit zu realisieren, wie sehr er andere Menschen durch seine Heuchlerei verletzt.

Kritik:

Mit Wer früher stirbt, ist länger tot wurde zuletzt bewiesen, wozu bayrische Komödien in der Lage sind. Dabei hatte Jürgen Tonkel eine kleine, aber feine Nebenrolle als suizidgefärdeter Radiomoderator. Beim Debutfilm von Sebastian Stern (Regisseur und Co-Autor) darf er nun die Hauptrolle übernehmen. He brings the conflict between the man and outer rays of inner emptiness extremely credible and maneuvered over the figure sent from the plate area. A bit of a cliché is the fact, already, the dashing Represented, who sold his job for the soul.

But the script treats all the characters not condescending - as do about the Coen brothers usually - but with warmth and respect. They all feel somehow lost in the highly differentiated world of work today are not satisfied with their long life and for human affection. The result is a carefully constructed combination of exciting results in conflicts even if here and there some are constructed. For example there is the young, insecure Hermann, who just starts new company in pits and as a kind of mirror of his younger self to function. been able to gain only a few scenes - great also, how much depth and credibility of the star girlfriend of pits son - thick goth girl is in itself far from being a popular figure.

side scenes of bitter sardonic wit thus arise mainly in the second half melancholy, some really touching moments. Captured these are hardly noticeable from a handheld camera with simple, peaceful images. It convinced the subtle symbolism of the imagery, as when in the supermarket in Pit go under a sea of price tags and billboards almost imminent. Another fine detail is in the background constantly emerging classical music of Liszt, among other things, which is harmoniously complemented with a soundtrack by Markus Lehmann-Horn.

Only towards the end falls on The Hummel by slightly over stock, even if the movie with 87 minutes pleasant fall short. Overall, Stern is definitely a heart-warming, accurate tragicomedy succeeded with biting social criticism.

about 8 out of 10

What Does A Pain In The Jaw Mean

(Theater Review)

Adopted

Adopted was in the sixth Zurich Film Festival shown.

Content:

Ordinary Adoption Agencies, it might look like this, see that by white, western families catalogs with pictures of black African children. But there is another way! The organization ADOPTED turns the tables by offering lonely, let the local society weary West Europeans the opportunity to adopt from an African family.
The film portrays the fate of Ludger, Gisela and Thelma, who open from Germany to live with three different families in Ghana. While the actor Ludger there hopes to find the true happiness of life, the pensioner is Gisela since the death of her husband alone and left without prospects in life. Thelma the other hand, is originally from Iceland, has nothing of material values and want to know mainly people from all over the world. If the find three, they are looking for?

criticism

The stakes of Adopted certainly something ironic. Without doubt, the choice of the title and the advertising poster is designed to attract through the "One upside" principle attention. Finally, Gudrun F. Widlok seems director, who led the project along with Rouven kingdom to have the right to trigger the audience as possible in-depth reflection on the relationship of the two cultures. Provides the basis of this provocative question of whether the personal happiness is not to find more closely linked in the social life of African village than in the isolated town houses of the West.

The biggest danger here is that it gives itself as a Western viewer the romantic and idealized vision of African society. At the beginning of the film made in this regard also rather one-sided and nourishes these more subjective images, instead of them the unvarnished Reality oppose. Self-reflection is certainly present, as when Ludger noticed that there is a sign of fastidiousness actually when we voluntarily give up our affluent life to live in poverty want.

The best part Adopted is the immediacy with which the camera puts us in the action. As a viewer one is amazingly close to it to the protagonists understand their motives and feel with them. How do they all have at first more or less large start-up problems, so you feel as a viewer to know a stranger in the new environment and learns the adoptive families for the first time and appreciate. Here are the three stories, in reality not at the same time took place, cut side by side and cleverly woven into a diverse and exciting overall picture. Despite the fact that it was filmed with small and not of outstanding quality camcorders, also creates an almost palpable atmosphere of the village and town life in Ghana. It is strengthened by the contrast to the images of Germany, which will be shown at the beginning. Even the music is making a remarkable contribution to generate atmosphere.

When one or other audiences may already harbor while the film is doubt whether the represented organization actually exists in reality or whether this is more a kind of Mockumentary is. Left the protagonists really stay home with the intention of forever in Ghana? Such assumptions are at least not entirely misguided, since the idea originally started as an art project and actually took only later to real forms. But that also does not work. It's much closer to the utopia that the viewer can imagine himself at least for a moment, here and now give up everything and be by adopting an African family. This succeeds the movie impressive.

about 7 out of 10

Is Mastrabating Wrong

180 ° (Theater Review)

180 °

180° - Wenn deine Welt plötzlich Kop f steht wurd eim Rahmen des 6. Zurich Film Festival gezeigt.

Inhalt:

Ein Amoklauf eines Zürcher Beamten beeinflusst auf höchst unterschiedliche Weise die Leben von rund einem Duzend Leuten. Ein junges Paar auf dem Weg zu einem Geschäftstermin überfährt zwei Jugendliche, als sie davon im Radio hören. Während das Mädchen sofort tot ist, landet der Junge türkischer Herkunft im Koma auf der Intensivstation. Dessen Eltern und drei Geschwister sind fassunglos, wobei der Konflikt zwischen den unterschiedlich stark integrierten Familienmitgliedern zum Vorschein kommt.
Auch für die Eltern des Mädchens scheint eine Welt zusammenzubrechen: Während sich der Vater, Professor für Literatur, von der Familie entfremdet hat und mit den Avancen einer Studentin konfrontiert ist, arbeitet die Mutter in ebendem Krankenhaus, in das der türkische Junge eingeliefert wird. Währenddessen ist der Amokläufer noch immer auf der Flucht...

Kritik:

Schon in der ersten Minute lässt Cihan Inan keinen Zweifel daran, dass 180 Grad weit entfernt vom eitlen Sonnenschein der üblichen Fernseh- und Spielfilmproduktionen hierzulande ist: Nachdem ein Mann mit seiner Ex-Frau und seinem small son on the phone, the camera reveals an assault rifle and an office full of corpses. Had the film not even the Swiss reputation for being honest and discouraged? This would prejudice director and screenwriter Inan clean up obviously by making (inspired by a true event in the eighties) just run amok on the pivotal point in its history.

impressed most about 180 degrees sure that the film from the beginning, therefore, is coming off a surprisingly high level. With haunting imagery and without unnecessary palaver Inan draws us into the story and drives it forward quickly. At the technical level, there is absolutely nothing to complain about. Thus, on the same new digital camera system is rotated, which had included Che or District 9 emerged. The fantastic camera work, the atmospheric night scenes and naturalistic lighting design speak for themselves: The TV look that characterized many earlier Swiss film is definitely over!

RMS was also used the soundtrack, which moves especially in the many dialogue-free scenes in the foreground. Here is a problem of the film comes to light, namely, that it of everything is too much sometimes . Often, it would not have been necessary to take out the extra wood hammer to what is shown possible to give a dramatic mood. So when disaster will be ranked in disaster, then steals one here and there the sense of showmanship.

This is reinforced by the fact that most figures are therefore relatively one-dimensional. While some actors can skillfully conceal this - would be to nenen Christopher Buchholz, Michael Neuenschwander and Carla Yuri - the others remain flat or even go under completely. What have such as Sabine Timoteo and Leonardo Nigro lost in this film other than a nice-to-have , remains a mystery. Next there is a lack of exciting products character development, with lots of interesting conflicts but cut, but in the end only scanty aufgelöst werden. So macht 180 Grad gegen Ende einen ausgefransten Eindruck und hätte locker eine weitere Viertelstunde mit überraschenden character turns vertragen.

Trotz allem: Im Vergleich zum anderen Schweizer Querschnittsfilm der letzten Jahre, Happy New Year , überzeugt 180 Grad durch seine spannende und dichte Erzählweise. Inan scheut sich nicht, ernsthafte Probleme anzusprechen, und erinnert dabei im positiven Sinne an das amerikanische Vorbild L.A. Crash . Ist der Schweizer Film etwa endlich erwachsen geworden?

ca. 7 von 10 Punkten

Gretchen From Oc Bathing Suit From Opening

6th Zurich Film Festival (23 September - 3 October 2010)

Ten years ago it would have probably no one dared to dream that the position of the traditional Locarno Film Festival as the largest annual event in this industry could ever be called into question. Today, there is now already the sixth edition of the Zurich Film Festival (ZFF) has run across the stage, things look a bit different: With its largely in private hands financed Festival (as opposed to government-sponsored Locarno) have the two organizers Karl Spoerri and Nadia Schildknecht already made a solid reputation internationally. The Over 40,000 visitors this year are not yet a comparison with the 150,000 of Locarno, but nevertheless already a considerable success. For more negative press last year caused the surprising arrest of the star guest Roman Polanski, but the popularity of the festival should not also have hurt. Such scandals were

it to report this year, no, more than the Swiss did not feel too good light, since it Adrian Grenier due to a four-hour delay of the flight in time for the premiere of his film managed Teenage Paparazzo . In contrast, eddy caused the opening film Sennentuntschi by Michael Steiner, whose production history is already full of obstacles had shown a constant theme in the local press. Apparently it was the opening night where the film premiered, some viewers not clear that they would get to see a horror thriller with a corresponding visual representations, and no feel-good Sunday night movie.

The program bribed this year primarily due to its abundance and variety, and finally ran some 70 films over 11 days. In addition to the International Feature Film Competition , the German Feature Film Competition and the International Documentary Competition were among the films that Out of Competition ran numerous audience magnets. In addition, among all was the New World View, which dealt this year with cinematic treats from Australia, for surprises. As a retrospective of the work of Milos Forman were shown, was honored for his lifetime achievements.

As Zurich I took during the festival, of course, practically in the cinema Corso, where most of the films were shown, usual. I turn to the accreditation passes through OutNow . However, the batch on ZFF was not even half as chic as that of Locarno . Also, the whole procedure with the ticket Get proved quite mühsam, einerseits da die Leute an den Kassen kaum informiert schienen, anderseits weil die Pressevorführungen für mich zu sehr ungünstigen Zeiten stattfanden. Weiter gab es hie und da Probleme beim Abspielen, was insbesondere dann etwas peinlich ist, wenn der Regisseur des gezeigten Filmes im Publikum sitzt.
Natürlich ist auch Positives zu vermelden. Die Fragerunden mit dem Filmemachern im Anschluss der Vorstellungen waren oft aufschlussreich und persönlich, vor allem bei Snowman's Land , 180° und Beijing Punk . Gerade die Organisation des Dokumentarfilm-wettbewerbs machte einen überaus kompetenten Eindruck und es war auch überhaupt kein Problem, mit den Leuten nachher to engage in conversation. The "real" stars were for ordinary people, of course, not so accessible, if one of them for anything mitbekam. A glamorous center that would meet the Piazza Grande in Locarno has emerged in Zurich have ever had. The canopy of the Corso cinema just is simply not enough.

But let us to what it actually is at the festival: the films. 13 pieces I have seen it and to my utter surprise, they all ranged from good to very good. Either because I had a very lucky hand or the festival program was indeed a masterpiece. In particular, the five documentaries were produced, but also the Swiss film presented me with Sennentuntschi and 180 ° in a light, as one does not know otherwise. He was surpassed only by the German film that was even more for quality. The two best movies I've seen at the festival were, on the one hand Snowman's Land , a darkly comic thriller from Germany, on the other hand Teenage Paparazzo , a fascinating discussion of Adrian Grenier, himself each objective of the camera flashes, with a 13-year-old boy who makes every day on the hunt for celebs.

The golden eyes of the three Wettbewerbskategorien gewannen schlussendlich The Woman with a Broken Nose , Das Lied in mir und Armadillo . Davon habe ich leider keinen gesehen.

Reviews:

• 180°
• Die Hummel
• Adopted
• Machete Maidens Unleashed!
• Snowman's Land
• Einmal mehr als nur reden
• Vielleicht in einem anderen Leben