Posle smerti (1915)

 |  Drama  |  7 March 1995 (Germany)
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Andrei lives a secluded life with his aunt, studying and thinking about his now-deceased mother. His friend Tsenin is concerned, and tries to get Andrei to accompany him to social events. ... See full summary »



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Complete credited cast:
Vitold Polonsky ...
Olga Rakhmanova ...
Kapitolina Markovna, his aunt
Vera Karalli ...
Zoya Kadmina
Mariya Khalatova ...
Her mother (as M. Chalatova)
Tamara Gedevanova ...
Her sister (as T. Gedevanova)
Marfa Kassatskaya ...
Princess Tarskaya (as M. Kasazkaya)
Georg Asagaroff ...
Andrei's friend (as Georgi Azagarov)


Andrei lives a secluded life with his aunt, studying and thinking about his now-deceased mother. His friend Tsenin is concerned, and tries to get Andrei to accompany him to social events. After watching the actress Zoya Kadmina perform, Andrei is fascinated with her, and is then astounded to receive a note from her. He has only one brief meeting with her, and then three months later he is shocked to learn of her death. He now becomes obsessed with her memory, and he decides that he must find out all that he can about her. Written by Snow Leopard

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Release Date:

7 March 1995 (Germany)  »

Also Known As:

After Death  »

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Aspect Ratio:

1.33 : 1
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User Reviews

Excellent for its day
30 July 2006 | by (Bradenton, Florida) – See all my reviews

Only a few years later, this film would have seemed very old fashioned and simplistic, though in 1915 when it was made it was a very good tale. Its running time of 46 minutes was full-length in the 1910s but in the 1920s this film would have probably been stretched out more and been less hyper-melodramatic--especially when it came to the character of the angst-ridden young man. In fact, now that I think about it, the movie and other Bauer films I've seen all are "angsty" and revel in misery! A young man can't get over his mother's death. In later years, such an idea might have been used to imply that the man was gay, though didn't seem to be director Bauer's intention. An actress somehow becomes enamored with him (though this is a shortcoming in the film, as this just seems to come out of nowhere). She professes his love and he rebuffs her--preferring to dwell in his own angst-driven world. She then kills herself (again, this DOES seem a bit over-the-top since she seems to hardly know him). But then the movie gets a lot better, as the man's conscience attacks him without mercy. He begins to dream of her constantly and later even begins to see her ghost during the daytime! He is obsessed with her and his guilt over being to cold to her that it ultimately takes over his life. An interesting idea and filled with creative cinematic images and camera tricks. However, due to its extreme melodrama, it certainly won't appeal to someone who is not already a fan of silent cinema. In fact, I would recommend a newbie watch almost any silent film before Bauer's because they might scare them away from the genre. Definitely an acquired taste or a film for the devoted fan.

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