Every February serves Berlin Film Festival a handful of brand new, supposedly excellent new German films. Anticipation is high and undermålighet met with derision, often salted with reminders of goodies festival declined over the years (“The Lives of Others” is a notorious such abuse). But occasionally rungar cheers. As with “Goodbye Lenin!”, With the “Against the Wall” – and most recently with “Victoria”.
Sebastian Schipper, with a background as an actor in including “The English Patient” and Tom Tykwer’s “Run Lola “, interest in innovative tricks, something that largely characterizes the” Victoria “, a film in just over two hours, and in one unbroken shot.
She was wearing title the name has come from Madrid to Berlin. We meet her in ecstatic technorus on one of those nice seedy clubs like this rarely sleeping town has many of. It is just four, Victoria gives iron. Bit lonely she is, does not know many people here yet.
Four local buddies show up. They offer her a ride, but the car’s angry owners protesting. A beer, then? Victoria heads off through the Berlin night together with Sonne, Blinker, Fuss and Boxer, as beautiful shabby, like everything else here. Victoria, who seems in need of a change of scenery, gets what she wants and is wary not.
Even when Boxer needs a driver for a robbery she booms. The journey over rooftops, through the dim garage, luxury hotels and slippery asphalt, with both the law and the criminal world at his heels. Much can go wrong.
So even with this swashbuckling film, recorded at 22 selected locations – without cutting. Not so much for the technical and pretentious at the time. Not so at all. On the contrary.
Unlike some earlier bids in the “genre” – the sumptuous “Russian Ark” or the interesting rather enjoyable “Time Code” – actually works “Victoria” as a really good movie, plain and simple. Script and gallery of standing on its own legs sturdy, side by side with innovation. It is a fat herculean Schipper, his cocky ensemble, his Norwegian photographer Sturla Brandth Grøvlen and other staff have performed.
Oöverskattbar the help they get from the other main character, so strangely soulful Berlin, whose sometimes gray concrete and steel / glass complex reveals a history of occupation, bombings and other hostile devastation. In moments, the reminder of the Stockholm subjected to similar abuse, although here by local councilors.
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