movie info: http : / / www.imdb.com/title/tt0989603/
Cinema: Harmony (Frankfurt)
Trailer:
criticism
Is Sabine Derflinger "42plus" most obvious symptom of overproduction crisis of German Films that are increasingly rinsed films to the movies, at best, as a television game-assembly for a well-kept are good Monday or Wednesday evening? Or is it a clever film for the target group aged art-house clientele, who can play for their mid-life crisis here by Claudia Michelsen, Ulrich Tukur, Tobias Moretti? The story about "42plus" is so cliché that it hurts. Christine is an attractive, successful TV talk Erin, her husband George is a busy doctor. Daughter Sonya's sexuality is just waking up, so it has for the common Italian holiday as some made. The marriage of Christine and George runs routinely, have long both partners lover, which is still barely concealed. When Christine met with upon arrival in their luxurious house a young man in her bed, she responded, amused and confident - as Tamaz begins challenging to flirt with her. Later, on the beach, they will meet the young man again and he will begin her to be a promise. Meanwhile, their daughter Sonja is a goal-oriented way, making the parents a bit uneasy. In each setting, in any dialog of "42plus" the ambition of the director is felt to provide a framework that outlines the characters and conflicts, but, please, not merely on the trivial nature as Rosamunde Pilcher. Sorry affects the result in a trivial way ambitious: The characters torture themselves by way of theater-PAPER dialogues make it clear to the ever, that the words at the same time a little more abstract to testify about the character. The same goes for the rest of the installation: If George on holiday old fashioned rock music in the CD player moves, we know immediately that this action is to call his difficulties with aging, its relationship to the nostalgic past youth. Christine may be a successful media woman, on vacation, they only attractive woman whose intellectual disposition was made obvious at the airport. Scene for scene, sentence by sentence compressed Derflinger a thesis-like scenario to more of a Experimental set-up recalls for a movie. To the exposure of course follows the crisis: Of course, one can Christine on an affair with Tamaz, of course arises just at this moment in Christine's lover Martin elderly with his wife Linda. Tobias Moretti is as narrow-minded Martin paragon of machismo and greasy complacency. It is clear that it should go here by the difference between George and Martin, but, unfortunately, is completely incomprehensible why a woman like Christine is said to have taken up with a creep like Martin. The "male spectrum," the "42plus" fan out, is a local restaurateur, who a few Mediterranean wisdom may contribute, completed the self conscious Tamaz and Sonja's boyfriend in a way. Thus, while designed Claudia Michelsen Christina's love of adventure with an almost reckless intensity (her dramatic performance alone is worth the entrance fee), the artfully draped fabric relationship implodes under the southern sun. Finally, Christine and George will continue their relationship under renegotiated terms. In the press release that runs on the point "Together stay alive beyond. There Sabine Derflinger also speak of their intentions and constructs her film a context that makes stunned. You want a close to "42plus" to Rossellini's "Viaggio "Recognize (3882), films such as" Baise-moi in Italia "(fd 34 542) or" Intimacy "(fd 34 894). "The gray veil of disappointment" over their lives, the sense the well-off middle-aged more or less, through sexuality, "the last remaining animal in us," torn. It Derflinger formulated in the press kit, and just sees "42plus" also from: Every sentence is a thesis that was set then pointedly as possible in theatrical scene. Not even the lower points of an ironic look on life lies the middle class helps the film to be mimetic. With Rossellini's freedom in the staging of the result to do so little as with the radicalism of "Intimacy" and "Baise-moi". Too bad only about the representational services and solutions, conventional and not very surprising didactics have been sacrificed. Ulrich Kriest (filmdienst 15/2008)
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