There's a certain raw quality in Austrian and German horror that even American cult masters can't achieve. Angst is messing with your sense of direction and almost makes you sea sick. Oddly, though, there's an undercurrent of pitch black humor, and the serial killer occasionally comes across as a pitiful sack of potatoes. Sick, but weirdly hypnotic.
The close-up photography is effectively claustrophobic, Klaus Schulz's minimalist synth score creates a brooding atmosphere and Gerald Karl directs with unsettling kitchen sink realism that draws us in. But do I want to be drawn in? Fear follows a compulsive murderer for an hour as he infiltrates a family home and proceeds to bludgeon them to death because it provides sexual stimulation. Great entertainment? Nein.
Trama semplice ma sviluppata ottimamente. Il killer e la sua malattia risultano stupendamente approfonditi e la sua voce narrante crea una malsana atmosfera. La regia utilizza molto la telecamera a mano e inquadrature di dettagli, favorendo l'atmosfera. La fotografia e la messa in scena danno un tono malato alla vicenda, che non risparmia scene abbastanza crude. Colonna sonora mediocre. Recitazione dai toni surreali.
William Lustig's Maniac, John McNaughton's Henry: Portrait of a Serial Killer, and Angst were three serial-killer horror films from the '80's that are truly avant-garde filmmaking in their unorthodox approach that shuns narrative for sheer nerve-wracking terror. Angst, however, is the most polished one of them all. Its transcendent camera work and stellar use of musical score is pure arthouse. Grand acting, too.
Ekranizacja opartej na faktach historii jest bardzo dobrym portretem psychologicznym mordercy. Obraz niestabilnego emocjonalnie mężczyzny, dodatkowo potęgowany jest poprzez sam sposób kręcenia filmu. Dynamiczne ujęcia scen unikających normalnej perspektywy podbijają napięcie oraz niepokój jaki mógł towarzyszyć samemu oprawcy aby zakończyć się nagle pozostawiając widzom kilka pytań bez odpowiedzi.
(4.5) well this is one messed up bunny of a movie. what jumps at you from the very beginning is an almost expressionistic use of camera angles and over-stated choices of certain sounds. everything is taken off its axis, cold and distant fitting the main character perfectly. at certain points the perversity of it makes the viewer seem almost equally deranged but who gains his pleasure through voyeurism.