Realização:
Dietrich BrüggemannCâmara:
Alexander SassElenco:
Lea van Acken, Franziska Weisz, Lucie Aron, Michael Kamp, Moritz Knapp, Hanns Zischler, Anna Brüggemann, Florian Stetter, Birge Schade, Sven Taddicken (mais)Conteúdos(1)
Maria is 14 years old. Her family is part of a fundamentalist Catholic community. Maria lives her everyday life in the modern world, yet her heart belongs to Jesus. She wants to follow him, to become a saint and go to heaven – just like all those holy children she's always been told about. So Maria goes through 14 stations, just like Jesus did on his path to Golgatha, and reaches her goal in the end. Not even Christian, a boy she meets at school, can stop her, even if in another world, they might have become friends, or even lovers. Left behind is a broken family that finds comfort in faith, and the question if all these events were really so inevitable. (Arrow Films)
(mais)Críticas (4)
Uma jovem rapariga, vítima de brainwash religioso e uma mãe tirânica. Longas tomadas estáticas sem música, decentemente atuadas, visualmente austeras e demasiado frias — como se nem sequer devêssemos simpatizar com o carácter sofredor.
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(49th KVIFF) The biggest downer of the festival. Fourteen static scenes without editing that, on the bare bones of the stations of the cross, tell the story of a young girl who wants to be a good Christian, but that isn’t enough for her uptight, über-Catholic mother, who forces her to be an even better Christian. And because “I want my own father and my own mother”, she tries to be an even better Christian… but that excessive motivation harms her. A movie that actually isn’t very movie-like, but it’s still incredibly strong. The way the characters ruin their own and each other’s lives made me physically sick. It’d be interesting to watch this film together with the British drama Calvary, which looks at religion in today’s world from the other side (and not with a significantly more positive tone). The feeling it leaves is that what’s important it’s not faith, but whether a person is “normal”, or an idiot or an authoritarian asshole.
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A real event. The framework of the fourteen stations is not used for its own sake - on the contrary, the story of the teenage Mary communicates with Christian symbolism civilly and argues in stratum with religious fundamentalism. Yet it does not become a dull anti-religious agitator, but rather functions as a destructive family drama that is smooth down to the last detail. Some of the scenes are reminiscent of the hard irony of Seidl (the gym), whilst others absolutely uniquely combine realism and the iconic "station". Stations of the Cross can be both an emotional KO and an extremely well-thought-out aesthetic gesture. The sophistication of the script is captivating, and if we can talk about sharpening down to the last detail, then it is in this film (the confession scene!). Dietrich Brüggemann builds on the best tradition of Austrian and German cinema, with its ability to materially penetrate the center of the pathological phenomenon and let the viewer experience its banality and destructive consequences. A film-monster, revealing the thin line between love, dedication and fanaticism.
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Um filme corajoso e poderoso. Seguindo o exemplo da Via Sacra de Jesus Cristo, a protagonista, manipulada pela ideologia cristã, embarca na sua própria viagem para a destruição. As cenas, na sua maioria estáticas, tiradas em longas e complexas tomadas de cena, impressionam com o seu impacto, desempenhos convincentes e a força (e perversidade) das ideias nelas apresentadas. Durante todo o tempo, o filme proclama que a Igreja Católica é má, apenas para se desviar no último quarto de hora para o lado, estabelecendo uma reviravolta confusa que está, no entanto, fundamentalmente em desacordo com as crenças que tem demonstrado até esse momento. O que é também a única crítica que tenho sobre o filme.
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