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Kritiken

MEIN ESSEN MIT ANDRÉ

Louis Malle USA, 1981
Roger Ebert once marveled that the film was entirely devoid of clichés, a feat that has as much to do with its meticulous editing as it does with its script.
August 19, 2015
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My Dinner with Andre doesn't fit the usual definition of a great movie, but it has an inexhaustible, omnidirectional confidence. It's the most subliminal piece of magic realism—expansive, incantatory words jousting with monotonous matter—ever put on film. Playing amusingly distilled, intensified versions of themselves, Andre Gregory and Wallace Shawn sprang this cantankerous cerebral doubles act—part doleful Vladimir and Estragon, part verbal Laurel and Hardy—on an unsuspecting world in 1981
Juli 5, 2015
An improbable sensation (by arthouse standards, anyway) at the time of its release in 1981, My Dinner With André ranks among the most daring conceptual stunts in cinema history... Directed by the late Louis Malle, the film works better than anybody ever thinks it possibly could; as Gregory eloquently recounts his adventures in vivid detail, each viewer's imagination takes over, and yet the actors' faces remain a crucial component.
Juni 17, 2015
...This hypocrisy is the script's absurdist joke, which director Louis Malle informs with the pathos of what might be termed quotidian tragedy. The role-playing gradually burns away to reveal two men opening up to one another, comparatively unguarded. Shawn grows more confident, challenging Gregory's insidious self-satisfaction, while Gregory unmasks the longing driving his extraordinary orations.
Juni 12, 2015
Despite their obvious differences, Louis Malle's MY DINNER WITH ANDRE has something in common with computer science in that both attempt to solve the dining philosophers problem. If each philosopher must alternate between eating from a communal bowl and thinking great thoughts, how can they concurrently do so while being unawares of their companion's own eating-and-thinking habits?
März 1, 2013
Many potential conclusions emerge from the rubble, one of which (from a present-day viewing, at least) is that the problems of today are those of 1981 brought to a boil—My Dinner with Andre is often celebrated for its audacity but has now reached the point where it deserves similar credit for its prescience.
November 29, 2010
Seemingly nonchalant, impeccably crafted, borderline delirious, My Dinner with André is the result of an inspired collaboration among its actor-writers, Wallace Shawn and André Gregory, and its director, Louis Malle.
Juni 26, 2009
Where Rohmer's philosophical illustrations burble with phallic self-parody (aren't all the conversations rather glibly, and delightfully, about sex?) and Gray's Dionysian ramblings have more in common with stream-of-consciousness, neo-Beat memoirs than with critical dialogues, My Dinner with André is one of the few entrancingly esoteric, radically raw dialectics ever filmed.
Juni 15, 2009
The San Francisco Examiner
It's a cerebral tennis match, filmed with a chair ump's restraint by the late Louis Malle and imbued with feeling, but devoid of the interpersonal baggage that leads to Drama. Malle occasionally breaks into Cinema, though, allowing the camera to pan ever so softly to the left or the right.
Juni 11, 1999
Shawn can see nothing but his own struggle, but Gregory enchants him, and challenges him, with wild, beautiful, and sometimes unbelievable tales of his spiritual quest to rediscover the theater and life itself. Simple close-ups, reaction shots, and two-shots aren't director Louis Malle's usual visual style, but the simplicity becomes hypnotic. After 18 years, My Dinner With Andre is still shocking in its own way: it dares to force you to conjure up a private movie inside your head.
Mai 19, 1999
Hammering against the wall of Shawn's pragmatism, sometimes pulled up short in awareness of its own absurdity, Gregory's account of his spiritual odyssey becomes a magical mystery tour of thoughts, dreams, fantasies and emotions. Riveting, exhilarating stuff.
Februar 1, 1982
Like many of Louis Malle's films, this two-character drama (1981) comes on as something very chancy and avant-garde and ends in banality and smugness. It's safe, reassuring radicalism.
November 1, 1981