What I wanted you to say.

So light and flickering was not a German long summer movie anymore. With "All other" is a miracle Maren Ade successful: A drama about love silent quake with a great actress and so true dialogue, that they from their own lives to know believes.

 

The mouth forms a silent "O", big and round. Another Röcheln a handle in the cardiac region, making a last look at the loose nearly four years Schützin - then crashes the completed body in the pool.

A highly dramatic death scene for the amusement of a small, musty girl.

At the end of "All other" is Gitti, played by the great Birgit Minichmayr again as lifeless ahead. And it is again not the end - but that of a pair, at least as it was. It will re-locate or separate them. And between these two infantile oneself feign death, this desperate attempt to familiarize himself with important charge, is located, is the everyday game of love, the drama of disenchantment.

The whole film is about nothing else. And it is amazing how safe the director Maren Ade ( "The forest for the trees") in their second feature film must have been that the love and disillusionment as their stinknormale material for a movie last. And what a.

"All other", whose director, actress and equipment (Silke Fischer) with prices (Silver Bear, Femina Film Prize) was considered, the French from the recent German films. A summer of film, light, flickering, heat. Sometimes the gusts swirl beneath the surface of an underlying mood Thermik upwards. Sometimes expresses the heat on the waiting mood. The waiting that a voltage flies, guests are disappearing, the holiday passed. One thinks of Rohmer in this story about people who are quite well off and yet when they themselves are exposed, shaken by a crisis, which has no cause, because this crisis is life itself.

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Photo: Prokino
Video: JKR

"All other" - How to love a holiday crisis
Trailer and Film Clips

Movie Trailer: "All other"
Film clip: "Find me male?"
Film clip: "I do not want to be like other"
Film clip: "I want you disappear"

Gitti, Press wife at a music label, tomboyish and directly, and Chris (Lars Eidinger), an ambitious architect, lanky and uncertain, in the summer traveling, the holiday house of Chris' parents. The domicile is in Sardinia, has a pool, is not for everyone available on a hill and is still one of many of its kind in bikini Gitti running around, Chris broken in jeans.

Once it lipstick with a light blue eyeshadow and pink lipstick, once he leads her a Schmachttanz before. You cook, you eat, loves it. And at some point one wonders whether it is sufficient for one, as you are, or whether you have something missing. The masculinity, for example. But when Chris, for the first time his arm like a real man of above sets Gittis shoulder, jerks it with her, so strange is that so unusual. What else could be missing? The professional success.

Already we are in the middle of the living. With its compromises, all the carefully-made concepts shattered. With its role-playing for Successful and Creative, for women and men. And in the middle of the Lie: Chris Gitti forgets that his competition design, which he had hoped so much, is kicked out.

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Photos laif (1); Tim Fulda for blogs

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In the supermarket take this couple, whose greatest strength, especially in its Infantilität and his sexual ambiguity lies to another with more traditional gender roles. Hans (Hans-Jochen Wagner), a braggart and zotenreissender Sana (Nicole Marischka), girlish, pretty and adapted. A meeting, gradually Gittis and Chris' love in lopsided is advised.

Chris tried to manhood in the gestures of the successful architect colleagues, Gitti in the softness only a woman is standing. Chris took the job, a holiday property to transform a building that is cosmetic, for which he had previously never away. Gitti piefiges buys a dress, not her, and tried to be friendly, unobtrusive hostess. And in a hint of masculinity imagined mimics Chris Hans, and now raises Gitti dressed in the pool.

This is the low point, nothing more true. A tragedy is happening somewhere in the realm of utopian Between fresh Verknallten with all its small, bizarre rituals - and the first tiny irritations.

ALL OTHERS (GERMANY 2009)

Director: Maren Ade
Screenplay: Maren Ade
Cast: Birgit Minichmayr, Lars Eidinger, Hans-Jochen Wagner, Nicole Marischka
Production: Komplizenfilm, SWR, WDR, Arte
Rental: Prokino
Running time: 119 minutes
Start: 18 June 2009
Official Website

The disarming of "all others" is that the film never pretends the course of events or to understand its rules. He observed, here and there is something symbolic in advance, suggests or add scenes together, so completely new way to comment on each other.

He sympathizes with the times of a silliness, sometimes with the anger of others. The insight into the nature of love, which Gitti and Chris cut the more the more they want to assure her, is not the strength of this film - it's good feel for their quiet vibrations, which is mainly manifested in the dialogues. In the wild these Thirtysomethings honesty, childlike in their desperate undertones and not least in what they omit. It has long been in German cinema as a safe handling of the nuances in concrete, semantic shifts, and breaks no longer get to hear.

What is so airy and so close to the truth of one's own small life vorbeizuhüpfen seems, is the product of hard work. Three years has it sat Maren Ade so aufweicht nothing, nothing will be blurred. And something we can see, what else, perhaps too small to be normal, would be familiar. Therein lies their art. And because here on the big actors and actresses take, we must all reckon with.

The love and its end, death.