This dark psychological thriller draws us slowly but surely into Maria's strange world. Tension mounts as she is buffeted by interactions with her abusive husband, demanding father, and ...
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This dark psychological thriller draws us slowly but surely into Maria's strange world. Tension mounts as she is buffeted by interactions with her abusive husband, demanding father, and meek paramour. This housewife, who initially appears outwardly unassuming and unremarkable, is shown to possess an inner landscape of the mind which is twisted and scarred. Techniques of German Expressionist cinema gradually give us insight into her psyche. Why does she write letter after letter to herself, stashing them in a living room cabinet? Secret after secret is gradually revealed, until the chilling and disturbing conclusion. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
When I first saw Deadly Maria at the Berlin & Beyond film festival in early 1996 here in San Francisco I was blown away.
It's full of style, like nothing I've ever seen, and uses techniques that punctuate the content more successfully than in probably any other film I've ever seen. Tykwer's later films, Wintersleepers and Run Lola Run are equally brilliant, but I prefer Deadly Maria on most levels.
As far as the content itself, it would most appeal to anyone who knows the pain of living life as someone other than who they truly want to be. It's dark and intensely honest.
What else can I say? This film touched my soul. The catharsis of seeing it shook me to my roots. Tom Tykwer is a genius, in my opinion.
See this film.
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