Winfried doesn’t see much of his working daughter Ines. The suddenly student-less music teacher decides to surprise her with a visit after the death of his old dog. It’s an awkward move because serious career woman Ines is working on an important project as a corporate strategist in Bucharest.
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My father believed it was his inherent right to embarass his kids. We'd be walking down the street and he'd break out in song. As kids we all had different coping strategies. My sister was the youngest and almost too easy to embarrass. She remains embarassed to this day. My younger brother just pretended it wasn't happening. Being the oldest I decided to join him in singing. It's hard to embarrass me to this day.
Just heard this is getting a remake... People: MOVIES MADE IN EUROPE ARE STILL MOVIES, THEY DON'T NEED HOLLYWOOD'S REMAKES. We do NOT need a second version of a great movie starring famous actors. We're just fine with these brilliant ones. Also, we don't need explicit scenes cut out because the so called "evolved" country can't handle them. Have some creativity.
Excellent, excellent, excellent. Astute absurdity that perfectly captures the current unease of trying to exist with lightness in a morally complicated globalised world. Top marks for the suit as a well executed marketing plan. 4.5 stars
What a Hoot! Oddest, most surreal, funniest (dead-ass funny actually), most original, poignant and moving flick of the 10s, period. Period. . Best movie-dad of the 21st century. Most complex father-daughter relationship I've seen, maybe ever. A film that marries/mixes oh so seamlessly & perfectly the documentary & the fiction, the entertainment and the document. Makes you dwell emotionally as well as intellectually.∇
Profound; touching; modern; cringe worthy; humanistic; devastating; darkly comic....just a handful of adjectives to describe the third and best film to date from director Maren Ade. Though not the 'comedy' the film is being marketed as, Ade's dark tale rewards on many levels. Huller and Simonischek are both wonderful here creating full bodied characters in raw performances. Life is indeed full of awkward moments.
Digital. So is this last year's "best movie"? Nothing new in the hype, it is what it is and it's little or nothing. Connecting to the usual shaking hand camera appears once again in contemporary cinema an immense inability to look at characters and spaces beyond a naturalistic registration without form. However, at the scene level, there are good comedy moments on the part of the actors, and that's all.
The best use of The Cure's "Plainsong" ever: like the rest of the film, it transitions from the quiet contemplation when giggles subside, to the crashing waves of melody and emotion hiding around the corner. "'I think I'm old and I'm feeling pain', you said / 'And it's all running out like it's the end of the world', you said / 'And it's so cold, it's like the cold if you were dead' / And you smiled for a second"
“Toni Erdmann” is corrosively biting, surprisingly human, gloriously hardcore, and extremely liberating.
After two hours and forty minutes, it leaves us with one simple question: what’s worth of living? (4.5 stars)