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Die Berührte (1981)

Doctors say that Veronika, a woman in her 20s, is schizophrenic. She is compliant, which makes her an easy target for men. She's religious, believing she is God's favorite child; she ... See full summary »

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Cast

Credited cast:
Elisabeth Stepanek ...
Veronika Christoph
Nguyen Chi Danh ...
Der Erste
Karl Heinz Reimann ...
Kind Gottes
Jorge Reis ...
Demba
Carola Regnier ...
Ärztin
Rest of cast listed alphabetically:
Abdel Wahed Askar ...
Ibrahim / Salem
Curt Curtini ...
Zauberer
Erika Dannhoff ...
Tanzender Tod
Günther Ehlert
Hasan Hasan ...
Monsef
Harald Hoedt ...
Gräfin im Garten
Erich Koltschack ...
Alter (as Erich Koitzsch-Koltschak)
Irmgard Mellinger ...
Veronikas Mutter
Nabil Reiroumi ...
Kranker
George Stamkoski ...
Grieche
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Storyline

Doctors say that Veronika, a woman in her 20s, is schizophrenic. She is compliant, which makes her an easy target for men. She's religious, believing she is God's favorite child; she searches for Jesus. She has sent a letter to a filmmaker suggesting her life as the subject for a movie. We see her raped than take up with a series of men she believes are Jesus, each willing or insistent on sex. A young man with his own crisis of faith invites her to join a cult. We see her involuntarily committed to an asylum from time to time where medication and constraints await. Her wealthy parents are helpless. Will a medical professional ever talk to her? If one did, would it help? Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Genres:

Drama

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Release Date:

18 November 1981 (France)  »

Also Known As:

No Mercy No Future  »

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Technical Specs

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Aspect Ratio:

1.66 : 1
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User Reviews

 
Alienation and madness in Berlin
14 November 2008 | by (San Francisco, California) – See all my reviews

The English title of Die Berührte is taken from graffiti on an abandoned building next to the Berlin Wall, and the Wall as concrete and metaphorical divide appears repeatedly throughout the film. Berlin appears cold, gray. Schizophrenic Veronika walks the city streets alone, looking for Christ, looking for human contact, for connection.

In their aseptic home her wealthy parents listen to a radio which endlessly drones stock prices, while on the street, the S-Bahn, in cafés Veronika experiences a sensual world freighted with hidden meanings. Home is a prison from which she seeks release through suicide. She is hospitalized, drugged, and released. In coitus she finds brief connection but neither the union she seeks with the infinite nor more than a temporary respite from loneliness.

Veronika attempts marriage with penniless Ghanaian Demba, an exotic symbol of the libertine south who she brings home to her parents' disgust, but Demba shows her no commitment, no loyalty, and in fact provides the basis for her forcible rehospitalization.

Here, as in several previous films, Helma Sanders-Brahms' protagonist is a strong woman suffering, nearly crushed, by the patriarchal forces of western industrial society. While at the film's open the viewer is told Veronika's real-life counterpart was almost cured, (at least, the film says, according to the doctors), there is no such cure shown within the movie. In the film's abrupt end rather, we see Veronika's search for Christ in a dramatic new light.


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