★★★★☆ The third and final entry in the Dreileben trilogy, Christoph Hochhäusler's Dreileben 3: One Minute of Darkness, finally gives centre stage to Stefan Kurts' convicted child molester Frank Molesch, starting with his escape from police custody first witnessed in Christian Petzold's initial entry Beats Being Dead. Visibly distressed following the death of his mother, the disturbed, almost childlike Molesch heads out into Dreileben's vast woodland in order to evade recapture.
Both Hochhäusler's observational direction and Kurts' endlessly watchable portrayal give a strong sense of credibility to the fugitive sex offender. Despite his apparently heinous past misdemeanours, Molesch is shown to be clearly suffering from mental illness, and seems to be far from the violent monster the townsfolk believe him to be.
As the systematic manhunt begins, Molesch proves himself to be extremely resourceful, evading detection despite the best efforts of ageing veteran policeman Marcus Kreil (Eberhard Kirchberg). However,...
Both Hochhäusler's observational direction and Kurts' endlessly watchable portrayal give a strong sense of credibility to the fugitive sex offender. Despite his apparently heinous past misdemeanours, Molesch is shown to be clearly suffering from mental illness, and seems to be far from the violent monster the townsfolk believe him to be.
As the systematic manhunt begins, Molesch proves himself to be extremely resourceful, evading detection despite the best efforts of ageing veteran policeman Marcus Kreil (Eberhard Kirchberg). However,...
- 10/15/2011
- by Daniel Green
- CineVue
The 49th New York Film Festival has announced their Masterworks and Special Anniversary screenings that will show between the festival’s seventeen days, September 30th – October 16th. The Masterworks program and the festival’s additional programming will provide audiences with exciting opportunities to explore new film-making styles and storytelling events. To learn more about the Masterworks and Anniversary films, please check out below for full synopsis and details.
Masterworks And Special Anniversary Screenings
Masterworks: The Gold Rush
Chaplin’s personal favorite among his own films, The Gold Rush (1925), is a beautifully constructed comic fable of fate and perseverance, set in the icy wastes of the Alaskan gold fields. Re-released by Chaplin in 1942 in a recut version missing some scenes, and with added narration and musical score, The Gold Rush will be presented in a new restoration of the original, silent 1925 version. In this frequently terrifying and always unpredictable universe of...
Masterworks And Special Anniversary Screenings
Masterworks: The Gold Rush
Chaplin’s personal favorite among his own films, The Gold Rush (1925), is a beautifully constructed comic fable of fate and perseverance, set in the icy wastes of the Alaskan gold fields. Re-released by Chaplin in 1942 in a recut version missing some scenes, and with added narration and musical score, The Gold Rush will be presented in a new restoration of the original, silent 1925 version. In this frequently terrifying and always unpredictable universe of...
- 8/28/2011
- by Christopher Clemente
- SoundOnSight
All Gone
Perspekstive Deutsches Kino
BERLIN -- Pepi Planitzer's "All Gone" is a shaggy tale of three down-and-out cockeyed optimists who find peace and harmony against the odds. Its engaging performances and wry humor could send it traveling successfully beyond German-language territories, and English-language remake potential is considerable.
Eberhard Kirchberg plays Hagen, a mentally challenged but affable giant who is released from a home and put on a train to be taken care of by his only relative. Getting off at the wrong stop, Hagen comes across a broken-down car in which a drunken man named Dohmuhl (Milan Peschel) sits swearing in frustration. Eyeing the situation, Hagen proceeds to push the car for five kilometers to the man's cluttered home, where he is invited in for a drink and some food.
Hagen decides that Dohmuhl must be his uncle, and so settles in with his sole possession: a makeshift dollhouse occupied by his pet rat. Dohmuhl is an agreeable type and decides to help his addled visitor while attempting find out who he is and where he belongs. He has his own troubles, having inherited a failing scaffold business and an unwanted former Soviet military base from his incompetent businessman father.
The only bright spot is that a woman he finds very attractive, Ina (Marie Gruber), has returned to live upstairs, having been paroled from penitentiary.
Hagen listens as his host explains that everything he had is all gone, and in a spontaneous gesture of sympathy he puts his rat in the toilet and demonstrates his recently learned skill at using the flush. It says much about how Planitzer views his doughty characters that a little later he shows the rodent emerging from the sewer, having not suffered too greatly from the experience.
They are characters to root for, and Planitzer tells their story without undue sentiment, aided greatly by strong performances by the leads and good work from his crew, especially cinematographer Uwe Mann and composer Jorg Huke.
BERLIN -- Pepi Planitzer's "All Gone" is a shaggy tale of three down-and-out cockeyed optimists who find peace and harmony against the odds. Its engaging performances and wry humor could send it traveling successfully beyond German-language territories, and English-language remake potential is considerable.
Eberhard Kirchberg plays Hagen, a mentally challenged but affable giant who is released from a home and put on a train to be taken care of by his only relative. Getting off at the wrong stop, Hagen comes across a broken-down car in which a drunken man named Dohmuhl (Milan Peschel) sits swearing in frustration. Eyeing the situation, Hagen proceeds to push the car for five kilometers to the man's cluttered home, where he is invited in for a drink and some food.
Hagen decides that Dohmuhl must be his uncle, and so settles in with his sole possession: a makeshift dollhouse occupied by his pet rat. Dohmuhl is an agreeable type and decides to help his addled visitor while attempting find out who he is and where he belongs. He has his own troubles, having inherited a failing scaffold business and an unwanted former Soviet military base from his incompetent businessman father.
The only bright spot is that a woman he finds very attractive, Ina (Marie Gruber), has returned to live upstairs, having been paroled from penitentiary.
Hagen listens as his host explains that everything he had is all gone, and in a spontaneous gesture of sympathy he puts his rat in the toilet and demonstrates his recently learned skill at using the flush. It says much about how Planitzer views his doughty characters that a little later he shows the rodent emerging from the sewer, having not suffered too greatly from the experience.
They are characters to root for, and Planitzer tells their story without undue sentiment, aided greatly by strong performances by the leads and good work from his crew, especially cinematographer Uwe Mann and composer Jorg Huke.
- 2/14/2007
- The Hollywood Reporter - Movie News
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