Austrian

Toni Erdmann

Link posted on by moviebloke

(Germany/Austria 2016)

Toni Erdmann is not a real person; he’s the alterego of retired divorced schoolteacher Winfried Conradi (Peter Simonischek). When Winfried, a weird old hippy jokester, appears onscreen in a shaggy wig and bad fake teeth, he certainly gives the impression that those around him have to excuse his relatively harmless but tiresome—and often annoying—penchant for silliness. He is caretaker of his elderly mother, and death surrounds him. Perhaps that explains it.

Winfried’s daughter, Ines (Sandra Hüller), a young corporate sellout working on a project in Romania, drops by for a birthday. She’s on her phone most of the time, distracted by work. She’s so serious—and severe. Predictably, she doesn’t stick around long.

When his dog dies, Winfried flies to Bucharest and stalks Ines in the lobby of the office building where she works. She sees him and takes him to a reception, where she networks with Henneberg (Michael Wittenborn), an oil company executive she wants to make a deal with. The weekend is bizarre, filled with small talk, blank stares, and uncomfortable silence. Ines doesn’t bother to pretend she’s happy to see her father; in fact, it’s pretty clear she’s relieved to see him leave.

This is where Toni Erdmann gets interesting: Winfried doesn’t actually leave. Instead, he becomes “Toni Erdmann, life coach,” and sets out to reach Ines through her professional contacts. Funny thing: it actually works.

Writer/director Maren Ade has a solid grasp of strained relationships and embarrassing situations, and a sick sense of humor to boot. It’s a winning combination in Toni Erdmann, which has its share of quite a few awesomely cringeworthy moments. Your goofy dad upstaging you at a networking opportunity? Check. Naked birthday party—with coworkers? Check. An Easter party that includes an apoplectic performance of Whitney Houston’s “Greatest Love of All”? Check. A cum-soaked petit fours? Um, check.

For all its distance, Toni Erdmann turns out to be a surprisingly emotional film. It takes nearly three hours to get to it, but it ends on a whallop. It’s touching in a way I didn’t see coming. The final scene offers all anyone needs to see about this dysfunctional father/daughter relationship. And it’s beautiful.

With Ingrid Bisu, Lucy Russell, Thomas Loibl, Trystan Pütter, Hadewych Minis, Vlad Ivanov, Victoria Cocias

Production: Komplizen Film, coop99 filmproduktion, KNM, Missing Link Films, SWR/WDR/Arte

Distribution: NFP Marketing & Distribution (Germany), Soda Pictures (United Kingdom), Enfilade (Austria), Sony Pictures Classics (USA)

162 minutes
Rated R

(Music Box) B-

http://www.komplizen-film.de/e/toni-erdmann.html

http://www.sonyclassics.com/tonierdmann/

The Dark Valley [Das finstere Tal]

Video posted on by moviebloke

(Germany/Austria 2014)

A German-language revenge Western set in the Alps during the 1800s? Sounds questionable, but The Dark Valley is a little gem that came out of nowhere—at least, I hadn’t heard about it. The film begins with a mystery: a young couple is hiding in a basement when a group of men swarms down on them, beating the man and dragging the woman away, screaming.

Years later, a German-speaking stranger from the States with daguerreotype camera arrives in a gloomy town on a gloomy day just before winter breaks. The town is filled with gloomy, unwelcoming inhabitants under the rule of Old Brenner (Hans-Michael Rehberg) and his six backass, brawny sons. The stranger, Greider (Sam Riley), convinces the Brenners to let him stay to take photographs of the valley, and they set him up with widow Gaderin (Carmen Gratl) and her daughter, Luzi (Paula Beer), who is engaged to Lukas (Thomas Schubert). Something is amiss, and the Brenners clearly don’t take kindly to strangers. War erupts after two of the Brenner boys die in “accidents.” Who is this Greider, anyway

The Dark Valley combines flavors of Clint Eastwood, Quentin Tarantino, and the Coen Brothers. Its heavy and brooding tone is palpably serious, even bordering on comical. It works, though—director Andreas Prochaska manages to avoid crossing over into cheese. Visually, the look is crisp, artful, and beautiful. I could have done without hearing either version of “Sinnerman”—one by Clara Luzia and the other by One Two Three Cheers and a Tiger—but I enjoyed this film for what it is.

(Gene Siskel Film Center) B-

http://www.filmsdistribution.com/Film.aspx?ID=4186

 

In the Basement [Im keller]

Video posted on by moviebloke

(Austria 2014)

Ulrich Seidl’s In the Basement begins from an interesting idea: a documentary about all the strange things people do in their basements. Sign me up! In actuality, however, it’s a rather boring film. The subjects– an amateur opera singer who runs a firing range in his basement, a weird old lady who keeps ugly dolls she treats like real babies in her basement, a hunter of exotic animals who hangs their stuffed heads in his basement, a collector of Nazi memorabilia with a shrine in his basement, a masochistic woman who helps battered women by day but likes to be spanked by night in her basement, to name just a few– are drab and more pathetic than compelling. I found only two interludes intriguing: a dom/slave couple (the slave licks everything in the bathroom and on his mistress clean) and a homely gigolo who boasts of his ejaculatory prowess. My impression leaving the theater: “Really?” Overall, a snooze.

(Gene Siskel Film Center) D

http://strandreleasing.com/films/in-the-basement/