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4.0
1,846 रेटिंग्स

Toni Erdmann

निर्देशक Maren Ade
जर्मनी, ऑस्ट्रिया, 2016
नाटक, हास्य-कॉमेडी

सारांश

Prankster Winfried doesn’t see much of his estranged, high-powered consultant daughter Ines, who lives in Bucharest. One day, he decides to surprise her with a visit, but this brings tension as Ines is working on an important project. To enter her corporate life, Winfried creates a fictional alias.

यह फिल्म अभी MUBI पर नहीं चल रही है, लेकिन 30 अन्य महान फिल्में चल रही हैं। देखें क्या दिखाया जा रहा है अब दिखाया जा रहा है
Toni Erdmann निर्देशक Maren Ade

पुरस्कार और समारोह

Cannes Film Festival

2016 | विजेता: FIPRESCI Prize

Academy Awards

2017 | Nominee: Best Foreign Language Film of the Year

Independent Spirit Awards

2017 | विजेता: Best International Film

San Sebastián International Film Festival

2016 | विजेता: FIPRESCI Film of the Year

It is the comic genius of the film that our sympathies are constantly tested, and twisted, in scenes that are by turns hilarious, excruciating, terrifying, and finally, deeply moving. The father is Boudu redux, a cataclysmic force of nature unleashed upon the soulless, weightless world of global capitalism. At last, the two desperate souls converge, and nature—love, trees, soil—proves weightier than the tallest concrete and glass skyscraper.
January 03, 2017
The movie works broadly in a classical-realist mode. This sets it apart from — and ostensibly renders it more “conventional” than — so much festival/art-house cinema … And yet, while embracing certain “traditional” values, the film also pushes them so far that they emerge into a space that is qualitatively different from what we encounter in 99% of realist cinema. Call it a revelatory supra-reality that feels genuinely bizarre and dangerous — and yet carries a potent ring of truth.
October 10, 2016
पूरा लेख पढ़ें
Trust in the creative impulse informs every aspect of the film, from Ade’s dazzling script which has just enough of a classical comedic structure to support two hours and 42 minutes of surprises big and small, to her direction, which is designed to liberate the actors as much as possible while the camera rolls, to the performances (Simonischek and Hüller seem to be as amazed as we are by the things their characters lead them to do).
May 16, 2016
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