A film from a time, when poor people onscreen were not necessarily synonymous with emotional shipwrecks. "Melvin and Howard" takes its time in observing and building up its characters. The vignettes on the way result in a supremely humane portrait.

An overproduced battleship of a movie dragging on forever in its tasteless tastefulness, only intermittently suspenseful, when crosscutting between two ominous locations. Then the audience for once may guess what will happen next and is allowed to watch the two (unsuspecting?!) protagonists. Though I have to admit: the pseudo-Swedish accents now and then are a real hoot.

Exemplary for a B movie director's ability to marry economic storytelling with visual poetry to the utmost efficiency. Even the obvious difference in the lighting quality between interior staging and photography in the open adds to its surreal stylization. All in all a little miracle in mise-en-scène.

Free and easy and great.

One could argue, that the films of Markus Busch and Dominik Graf take place on their own plane of existence (Deine besten Jahre, Der Felsen, Das Gelübde, ...) The formal and narrative condensations they achive here are one-of-a-kind and the characters portraied by Jeanette Hain and Susanne Wolf are deeply fascinating. Together all three of the "Dreileben" features represent the apex of contemporary german cinema.

Woods never seemed stranger before. Despite being crystal clear in its narration, even transparent - every scene, every image succeeds in keeping a secret. Together all three of the "Dreileben" features represent the apex of contemporary german cinema.

One of the scariest movies I ever saw.

A movie with built in commercial breaks (missing the products).

"Full Metal gokudô" is unbelievably poetic. The scenes by the sea make me shudder just by thinking of them. A unique frankensteinian solitude takes over for several minutes.

Extremely sensitive direction. Just compare the scenes and perspectives of Marie's arrival at and her departure from Versailles.