Bis ans Ende der Welt

1991
R
4h 47min

CALIFICACIÓN DE IMDb

6.8/10

12 k

TU CALIFICACIÓN

William Hurt and Solveig Dommartin in Bis ans Ende der Welt (1991)

Home Video Trailer from Warner Home Video

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56 fotos

Cyberpunk Sci-Fi Epic Action Drama Sci-Fi Thriller

En 1999, la vida de Claire cambia después de sobrevivir a un accidente de coche. Ella rescata a Sam y comienza a viajar alrededor del mundo con él. Eugene los sigue y escribe su historia, mi... Leer todoEn 1999, la vida de Claire cambia después de sobrevivir a un accidente de coche. Ella rescata a Sam y comienza a viajar alrededor del mundo con él. Eugene los sigue y escribe su historia, mientras se inventa una forma de grabar los sueños.En 1999, la vida de Claire cambia después de sobrevivir a un accidente de coche. Ella rescata a Sam y comienza a viajar alrededor del mundo con él. Eugene los sigue y escribe su historia, mientras se inventa una forma de grabar los sueños.

Ver la información de producción en IMDbPro

CALIFICACIÓN DE IMDb

6.8/10

12 k

TU CALIFICACIÓN

Ver la información de producción en IMDbPro

Premios
- 2 premios ganados y 1 nominación en total

Mechanic
(as Jean Charles Dumay)

Sam Neill

Eugene Fitzpatrick

Ernest Berk

Anton Farber

Christine Oesterlein

Irina Farber
(as Christine Österlein)

Rüdiger Vogler

Phillip Winter

Diogo Dória

Receptionist
(as Diogo Doria)

Amália Rodrigues

Woman in Street Car
(as Amalia Rodrigues)

Elena Prudnikova

Krasikova
(as Elena Smirnova)

Jinzhan Zhang

Truck Driver
(as Zhang Jinzhan)

Naoto Takenaka

Custodian

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Argumento

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Trivia
Wim Wenders' original rough cut for this film was twenty hours long.

Errores
When several of the European characters leave the Mbantua settlement to take a group photo, believing the adventure to be over, the voice-over mentions that it's February, 2000. Yet shortly after, as Henry Farber is trying a new series of experiments on recording dream imagery, a computer display for the current experiment shows January 21.

Citas
Eugene Fitzpatrick: [voice over] Soon they were hooked; all of them. They lived to see their dreams, and when they slept they dreamed about their dreams. They had arrived at the island of dreams together; but in a short time they were oceans apart. I watched helplessly as Claire and Sam were drowning in their own nocturnal imagery. They ignored each other, and neglected themselves. The dreams which should have been flushed away with the first yawn, were now their only diet; and thus became more and more concentrated. They made monsters for themselves that they could neither tolerate nor do without... They wandered in and out of lost worlds. Feelings and figures emerged from a forgotten past. Their dreams became black holes of isolation... They suffered, finally; from a complete loss of reality.

Versiones alternativas
The film exists in four separate versions. The first is the significantly cut American 158-minute version released by Warner Bros. in theaters, and on VHS, LaserDisc, and some streaming platforms. Wenders has disparagingly referred this cut as the 'reader's digest version'. The second is a 179-minute cut that existed only on Japanese LaserDisc. The third is Wim Wenders' director's cut, which runs 300 minutes. This cut significantly expands scenes, motivates Claire's romantic involvement with Sam Farber and keeps it from seeming less frivolous and more the expression of a wounded heart, additional scenes in Japan, and in San Francisco with Allen Garfield as an evil car salesman (a take-off on his character in another Wenders film), and numerous other expansions/additions. This full-length version divided the film into three parts, all given episode names, and all with opening credits because it was originally intended for this version to be shown as three separate films, or as a mini-series. This 300-minute cut was only available on DVD in Germany, Italy and France. It was screened several times over the years in America and the UK: the National Film Theatre in London on Saturday 2nd July 1994, December 6, 1996 at the University of Washington, with director Wim Wenders attending, Jan. 14, 2001 at the American Cinematheque (with Wenders attending), February 24, 2001 at the Directors Guild of America Theater with Wenders announcing the film would be released on DVD.

Conexiones
Featured in Siskel & Ebert & the Movies: Memo to the Academy - 1992 (1992)

Bandas sonoras
Opening Titles
Written by Graeme Revell
Performed by David Darling (cello solo)
Courtesy of Trans Glide Music BMI

Opiniones de usuarios103

Opinión

Opinión destacada

9/10

A difficult film at first, but so is all good literature

The vast majority of people I know have never understood this film. Probably this is because the 2.5 hour running time of the original release is actually vastly too short for the story. The director's cut is a whopping 4.5 hours, but goes by so quickly one hardly notices. If you are bored, then you probably haven't figured out what's really going on. Some notes:

This is a story of trials, of how our relationships to each other, and to humanity and the Earth, are shaped and impeded by technology. It is a fearful story of the dangers of our world as Wenders saw them in almost 20 years ago now. The journey is central here (as it is in almost all epic works) and the story doesn't work without seeing that journey unfold first all over the earth (and no, it wasn't about sponsoring nations--the journey of Sam and Claire et al reenacts other journeys only alluded to in the film, bringing up themes of connectedness to family and place.)

To me the most important theme in this film is the power of the journey and of stories to transform us--a theme so old we may be tired of it, though it remains relevant today. Eugene (Neill) is to me the central character, and any good viewing of the movie depends on understanding how he fits in as more than a side character caught up in a great chase.

One last note: this doesn't deserve to be described as Sci-Fi. Yes, there's some science-like imagery in it, but the thrust of the movie is literary. The "science-fiction" in the movie serves only as an extension of the transformations and journeys of the characters. It turns those things inward rather than outward, and succeeds well in doing it. A truly remarkable and excellent film that got a bad first screening because no distributor had the guts to put out a 5 hour movie. (What would they say to Akira Kurosawa these days?)