Realização:
Frauke FinsterwalderCâmara:
Markus FördererMúsica:
Michaela MelianElenco:
Christoph Bach, Margit Carstensen, Jakub Gierszal, Leonard Scheicher, Corinna Harfouch, Sandra Hüller, Johannes Krisch, Ronald Zehrfeld, Carla Juri (mais)Conteúdos(1)
A journey through a surreal Germany: A police officer in a bear costume. A female documentary filmmaker who is unable to find an interesting story. A pedicurist who carefully sets aside the hard skin removed from the feet of his aged female patient. A rich couple that refuses to sit in a German-built car. A history student uninterested in a class visit to a concentration camp. A wild man training a raven in the woods. In this anthology film, all are bound by family ties or a moment of coincidence in a country where the sun always shines and everybody is beautiful, successful and happy. This is until they reveal their darker side, and we discover that the step from idyll to inferno is a short one. Finsterworld is an ironic anti-thesis of the Heimatfilm and full of malicious observations and sharp-tongued remarks. Rarely has German cinema produced so much black humour in one fell swoop. (Berlinale)
(mais)Críticas (2)
Contos separados de tristezas de relacionamento que se chocam com a revelação das «perversões» ocultas dum parceiro, mais um sobre o tema da culpa e da falsa acusação. E de alguma forma estas histórias cruzam-se onde não seria de esperar. OK como enchimento do festival, mas na companhia de Haneke ou Alejandro Inárritu, o filme não pode competir. Contém apenas uma cena de topo (um diálogo apropriado num carro sobre os prós e contras do carácter alemão), não entrelaça as linhas da história duma forma particularmente pensada, e não faz com que os personagens com perversões sejam tão «maluquinhos» que possamos simpatizar com eles.
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At first glance, Finsterworld is a truly strange and unconventional film. In the course of the plot, there are several intersecting storylines whose characters are bizarre and even twisted in a way. It offers a glimpse of all sorts of perversions and strange dialogues, and you are not sure what direction everything is going to take, as the plot is quite unpredictable. I have to say that I was really annoyed by the character of the sleazy and sociopathic Maximilian, but I felt quite sorry for Dominik and the teacher Nickel. I was also intrigued by the reflection on Germany by native Germans. At times the film evoked Iñárritu's Babel in plot and atmosphere (the hermit, the shooting, the interweaving of stories), but I felt it was missing something, something that could really pull me in and kill me off.
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