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So radical is rarely a film director, the mass murder of the Jews processed. In "A Life for a Life" Paul Schrader tells the life of a concentration camp survivors as a mixture of passion story, and Psychiatry Satyrspiel experiment - and breaks through any Holocaust folklore.

 

The sun is shining so bright and gleißend as heroes when they wanted this film with all his might the memories of the Holocaust cauterize: Variety Artists Adam Stein (Jeff Goldblum) had once played violin in the camp, as his wife and daughter in the gas chambers were sent. Almost 20 years later fristet his life modernistic-up in a sanatorium, a patron in the desert of Israel has made.

The barracks of the concentration camps, the indignities of the bunnies, rußverhangene the sky over the camps - all this could be for Adam Stone in that place of cultural and social-round care, this spa oasis for genocide survivors, also not his. Thus, at least it seems.

Director Paul Schrader has a holocaust drama filmed - the rigidity of the folk genre, but he is far behind. Galt genocide for decades about the cinema as a unabbildbar, so we rehearsed in recent years always dedicated his cinematic high point - by Volker Schlöndorff, who in "The Ninth Day" precipitous mass murder widespread showers to Tim Blake Nelson, and probably the most explicit representation the Nazi extermination machinery Ash nightmare in "The Gray Zone."

Almost obsessed with the show directors, the genocide in its logistical rigorousness to illustrate. That's enough to start next week-end offender Schmonzetten "The readers, in the kitchen with the story of a psychology concentration camp Wärterin will spread. In order to ward off suspicion of oversimplification, be sometime the exhibition spaces of the Auschwitz memorial built into the plot, where mountains of shoes and other Opferhabseligkeiten the dimension of humanity crime awareness should call.

VIDEOS ON FILM

Photo: 3L Filmverleih
Video: 3L Filmverleih

A life for a life
Trailer and Film Clips

Film clip: "Eat now, Adam"
Film clip: "You are a joke!"
Film clip: "Did you torture yourself?"

But blocking the numerical measurement of the Shoah is not the view of individual stories? Converts the national measure is not pedagogically correct in fictionalisation automatically hollow gesture, in which the victim dramaturgically extras to its own history of suffering to be demoted?

From this point of view is Paul Schrader bunt frightening psychological profile of the victims staged a real watershed in the history of the Holocaust drama dar. free after Yoram Kaniuks novel, "Adam Sohn Dogs", the director of the history of magic and wonder artist violinist Stein Sexkomödie as a mixture of passion and history, and Satyrspiel Psychiatry experiment. Fellini's "8 1 / 2" comes as well when viewing in the sense like "One flew over Kuckucksnest".

Who is this Adam Stein? At the beginning, it is the year 1961, we learn about him as a seducer and Lebemann know, with slightly graying hair, but the more white suit from affair to affair hunts - both outside and inside the hospital. Get him the keeper of his erotic excursion into the closed-Shoa Sanatoriums back, treat the stone first and a good drop, the attractive sister Gina (Ayelet Zurer) to target, which is sometimes really unusual fetish lets talk about games.

"A LIFE FOR A LIFE" (GERMANY, USA, ISRAEL 2008)

Director: Paul Schrader
Screenplay: Yoram Kaniuk, Noah Stollman
Cast: Jeff Goldblum, Willem Dafoe, Vasile Albinet, Idan Alterman, Moritz Bleibtreu, Jenya Dodina, Ayelet Zurer, Veronica Ferres, Joachim Król
Rental: 3L Filmverleih
Running time: 102 minutes
Start: 19 February 2009

Official Website

The exterior is stone, the remains of what he at the Berlin vaudeville theaters of the twenties was celebrated: clown and magician, seducer, and role players. Inwardly rip him his feelings of guilt, the genocide to have survived. Because it helps little that all around him, praying her therapeutic mantra: "It is a crime itself and not blame them to give."

To "them" to the perpetrators, one of those sad little man, the Adam Stein in their twenties with a stage performance which has held to suicide. After his deportation he met once again rescued in Dachau - it's camp Commandant Klein (Willem Dafoe), who offers him a deal: Stone may be a personal lap dog to live a life for a life. And then Stone family was murdered, while he himself at night in the kennel next to a German shepherd the stars anjault.

Was there for the Nazis ever Entmenschlichungsapparat a cruel picture? The portrayal of the ultimate horror, in which directors in recent years with increasingly explicit hell unsuccessfully processed scenarios have actually only worked on the refraction of the grotesque.

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Paul Schrader was exactly the right thing to Yoram Kaniuks appearance in Israel in 1969 fought fiercely with the novel offered reflected madness in scene setting. "The story of a man who once was a dog and a dog meets once was a boy" - as the director summed up the book once. Because in the desert soon will sanatorium a child received, the barks and growls like a monster neglected. Artist stone slips again in the role that he played for survival in the concentration camp had to deal with the disturbed boy to approach. He finds his peace so?

Hochsymbolische that this healing process is kept free from any Bewältigungskonfektionismus, is located on Schrader very own handwriting. Unmistakable is the author of the Passion frivolous story "The Last Temptation of Christ" and the director of screaming sex comic tragedy "Auto Focus" at work. Old Testament burning thorn bushes and ritualised Beischlaf position in the dog with him form part of the same salvation history.

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The radicalism of "A Life for a Life" (Written by: Noah Stollman) is all the more surprising since the film but the first Israeli-German production of a substance represents the Holocaust, in addition to the U.S. stars Goldblum and Dafoe also a handful of local celebrities (Ferres, Bleibtreu, Król) mitmischte. Too diplomatic zeal offs, such kind of international projects are often characterized, however, would only have been a hindrance.

Because Schrader is working with his tour de force superelevation between religious and mental abyss, between meaning and noise psychopathology to a size, which in many nummernfixierten and yet completely harmless Holocaust reappraised in recent years always remained hidden: the people behind the numbers