This laconic and melancholic portrait of a retired miner who - living in a very conservative social environment - discovers a new music style is one of my favorite German films of the last decades. Schorr's cinematic work is beautiful: nearly always using static shots, often contrasting with each other by the way of their sound design - and returning to the opening frame with his last (slightly differing) shot.
...or the perks and perils of retirement. Our chunky German finds cultural freedom via his accordion and ability to raise his porkpie hat at anyone and everyone. Those Louisiana Yankees sure are friendly and no one gets shot. So much beer, so much time.
More dry, melancholy and strangely absurdist than I was expecting - and all the more affecting for the combination of distanced and sometimes stark imagery with genuine music of the people, whether German or Southern US.
Horst Krause makes a highly relatable character at the end of his working life and at a loss for what comes next. Some have called it bleak and melancholic, but it manages to stay humorous and heart warming in moments as well. A genuine portrait of the simple pleasures in a finite life.
Occasionally you watch a film that reaffirms why cinema is such a gift - it's ability to articulate the nuances of human emotion. Schultze Gets The Blues has it in spades; exploring our capacity for empathy and above all our need for human connection - a warm reminder that our differences are marginal compared to our similarities.