|Index||7 reviews in total|
I love this movie. I first saw in in a very urban hotspot that offered bagels and coffee at 10 AM to those who love to view fine cinema on Wednesdays. The miserable Fanny, the off the wall Orfeo... the fact that everyone has that crucial bottle of champagne in the refrigerator. A must see only because we are all odd people, whether we feel lucky or not doesn't figure into the equation. Lonely, desperate, or just finding out why we tick and what we tick for. If you can, see it, please!
Is it a romance? Is it a sci-fi thriller? This movie keeps you guessing all the way through, while we watch a distraught and morbid Fanny Fink bloom via the bumbling shenanigans of the next door palm reader. Will the space ship return? Is there a space ship? Will Fanny Fink find love? This may be all in German, but the subtitles are extremely accurate in meaning and mood, and the movie flows with humor and grace. And after the movie, you can go have a "Tasse Kaffee" with that person you've been meaning to get to know. A flat out wonderful movie, that will give you pause to cogitate afterward on life, death and ET.
Pierre Sanousi-Bliss, the actor who plays Orfeo in Keiner Liebt Mich, said
of his role that he thought it was symbolic of pre-Wende years, when "East
Germans lived alone in a world they had created." Orfeo, enigmatic
and gay Black tenant, is five months behind on his rent, and facing
eviction. He spends his days telling fortunes on the street, or
alternately, asking for money to get "back to Africa" and his nights as a
drag queen in a bar, where his white businessman boyfriend smugly watches
him. It is not difficult to make a convincing case in Sanousi-Bliss'
as Orfeo definitely exists in his own world, steadfastly creating a space
which he alone can exist, both by nurturing himself and pushing others
When his apartment is repossessed and he begins to cohabit with Fanny,
mysteries unearth themselves and the two learn to share and depend on one
another, approaching deeper issues of bonding and appreciating the present
Dorris Dorrie, the writer and director of the film, said that it addresses
the way "Germans seem unable to be happy with what they have." When Orfeo
compares his state of living to Fanny's it is painfully evident how much
has that he does not, including job, house, and the "right skin color."
Within this visual difference of race however, is a more probing study of
German sentiment. Indeed, Orfeo is discriminated against in Germany: his
fellow tenants don't want him living there, and passersby are more likely
give him money to leave the country than to read their palm. But Dorrie
not simply addressing racial tensions through the character of Orfeo, but
noted above, he is symbolic of a greater struggle in the German people.
This struggle is the same one that Fanny faces in a more direct way, to
rectify her existence with her imaginary ideal life, and to learn to
appreciate what is real and surrounds her.
In their final moments together before Orfeo 'dies,' he shares with her
secret of never wearing a watch, because it is always the same time, Now.
Interesting then, that several years later Maria Schrader, who plays
is playing a lesbian woman in the midst of WWII in Aimee & Jaguar. And
final words in that film? That she wants plenty of Now's. Not memories,
not futures, but now, and now, and now. It seems there is some form of
spiritual integrity emerging through the minds of German directors. For
the final cathartic moments of German films, the feel-good lines are
us what Eastern religions of meditation and mindfulness have preached for
thousands of years.
I recently attended a lecture by Professor Muhammad Bamyeh about
post-nationalism, which interestingly enough, made some similar
about the emerging solidarities throughout the world. One of the four
was the spiritual, in which seemingly disparate peoples are actually
approaching similar coping mechanisms, reaction and movements to the
of post-national identities and globalization. It is possible that in
small word, "now," is the seed of cross-cultural understanding. An
may see Fanny Fink's plight and view it only in terms of the desires and
unrequited loves, a German may see the representation of her culture. But
both can comprehend the immediacy of understanding the moment, regardless
the moment is one person's or one people's. In the ongoing spiritual
dialogue of the film we are given two disparate approaches: Fanny
'conscious dying' while Orfeo is arguably more busy with consciously
at least in the time he's got. But when these two meet, their common
are made stronger, drawing from the other and reaffirming the other as
*** This review may contain spoilers ***
It's hard to pinpoint exactly what makes this movie stand out, but stand out it does. Maria Schrader is very charming, but of course we already knew that. The same goes for Ingo Naujocks in the part of a budding painter with a death wish. Interesting take, by Pierre Sanoussi-Bliss, on the prototypical part of the sad clown. But most importantly, "Nobody loves me" is a very spiritual movie, and Maria Schrader's character Fanny is a very spiritual girl. She is what you might call an equal opportunity believer: ossified Christian saints, morbid new-age workshop gurus, and voodoo priests all get a chance to help her find prince charming. Eventually, the spell of loneliness is lifted by her shaman-in-residence. As soon as his mission is accomplished, he is promptly removed to heaven (Old Testament style) with a gold ingot in hand (New Testament style) to pay his space alien ferrymen (Greek-mythology-meets-Roswell-conspiracy style). The way writer-director Doris Dörrie makes the supernatural seem a natural part of everyday life will stay with you until well after the final curtain.
"Keiner Liebt Mich" 1994 Is it fantasy, or romance? It is die deutsche Romantik. A mixture of both fantasy and romance; with humor, pathos, and a flawless cast of misfits. I can't recommend this movie highly enough. Shown as "Nobody Loves Me" on cable in my area, it is easily missed. But that would be your loss. Watch Fraeulein Fink's cynicism melt before your eyes, as she melts your heart. If I were only 20 years younger, I'd jump at the chance to offer her "eine Tasse Kaffee."
It's been years since i saw this film, but it left a lasting impression on me. It is so funny and cool. I really hope they release it on DVD with English subtitles because i don't understand German sadly.... I am (almost) willing to learn German just so that i can enjoy this film on DVD. It's that good :) The film is about this girl who is afraid to die, so she's taking a course preparing her for her death, and some strange vodoo man moves into her building. And if i remember correctly she's having an affair with her boss, or at least with someone who works with her, and it's a disaster... Her desperation and loneliness is easy to identify with, as well as her struggle for love and direction in her life.
*** This review may contain spoilers ***
"Keiner liebt mich" or "Nobody Loves Me" is a German movie from 1994,
so this one had its 20th anniversary two years ago. The director is
Doris Dörrie and she also write the short story this film is based on
and adapted it herself for the screen here. And even if this film is
already over two decades old, this is not one of Dörrie's earliest
career efforts. She has been in film for a long time and there is no
denying that she is among the most influential filmmakers in Germany.
Many of her works have a strong connection to the country of Japan,
also her most recent film, but this movie from the mid-1990s is not one
of these. There is more a bit of an African connection in here. It runs
for 100 minutes and stars Maria Schrader, who won a German film award
for her performance here and for another two films. I have not seen
these other two as they are clearly less known than this one here, but
I am a bit shocked that such an unrealistic and over-the-top
performance is appreciate too. Then again, a lot of this character has
to do with how Dörrie wrote her. But even there, the German Film Awards
screwed up as they honored the entire work as one of the best of the
year. i guess we can be glad that "Der bewegte Mann" came out that
year. Otherwise this film here may even have won the biggest awards of
I am a bit unsure what to think of Dörrie as a filmmaker, but overall I don't really like her I guess. Her films about the male or female psyche in a (not so) extreme situation eventually come down to the same and it is rarely really creative. The only film I very much enjoyed from her is "Erleuchtung garantiert". But back to this one here. It takes us in the life of Schrader's character as she is scared of not finding a man to marry anymore at the age of 30. A bit of a bizarre premise, not only because she is very attractive, but because people today find their significant others much later on many occasions and I doubt that the concept of "Torschlusspanik" started that early back then. And if it did, then you could still say the movie has not aged too well. Speaking of Schrader, I never saw a particularly gifted actress in her and this film just makes me think the same. I do believe she is a much better filmmaker herself though as she recently proved with her Stefan Zweig movie. I am also not too fond of the title here as it sounds really desperate and I don't really mean in terms of the desperate main character, but because of the desperate attempt to choose the baitiest title ever and lure as many people as possible into the theater. The supporting cast includes decently talented actors like Trissenaar, Naujoks and Król, but none of them were really given the material to shine in here. From minute one, it was all about Schrader and her character and with this attempt, the film turned into a major failure that feels unrealistic all the time in the way of the protagonist's actions and what happens to her throughout the film. For me, this is a contender for worst 1994 film. I highly recommend you to stay away.
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