51-year-old Herbert Strehlow, a furniture restorer, falls in love with 21-year-old Lea, who has not spoken a word since childhood when her father killed her mother. She bears a striking ...
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A man and a woman seeking refuge from the world: Nihat at a remote forest fire tower, Seher in her room at a rural bus station. When their lives collide, each now has to fight their battle of conscience before the other.
Léa is a student who grew up as an orphan. She lives with her grandmother who once brought her up and who now relentlessly demands Léa's full attention, even at night time. One night her ... See full summary »
This drama depicts the misery of neglected children in big cities. 13 years old Bruno is of a good family, but since the death of his grandmother he spends most of his time alone, in a ... See full summary »
Einar and Bjørn leave Lene on the island for a fishing trip. Then her former lover, Gaute, drops by unexpectedly. Drunk, he sleeps in the double bed. Lene sleeps on the couch and wakes up ... See full summary »
Lene Elise Bergum,
Svein Roger Karlsen,
Jailbait (Wildwechsel, 1973), also known as Wild Game Crossing, is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, ... See full summary »
Rainer Werner Fassbinder
Rudolf Waldemar Brem
51-year-old Herbert Strehlow, a furniture restorer, falls in love with 21-year-old Lea, who has not spoken a word since childhood when her father killed her mother. She bears a striking resemblance to Herbert's dead wife. They get married, but their relationship seems doomed, until gradually each one manages to penetrate the mysterious world of the other, and they begin to realize that they are bound by a kind of spiritual relationship. For Lea it is the death of her mother, for Herbert it is the death of his first wife. His hard exterior slowly beings to thaw, and he starts to show feelings and responses that soften Lea's initial hatred and fear of him, and which put their relationship in a more positive light. Written by
L.H. Wong <email@example.com>
Each moment of the film exposes humanity to it's own existential romance...
Ivan Fila torments you into an oblivion of thoughts when you first watch Léa. What was avid of torment and nostalgia slowly evolves into meaningful bliss taking place in a reality where the exploration of one's self is a battle that can last a lifetime. In each second of the movie, you hear Léa speak inside her eyes when the colors of her mentality meet the mnemonic eyes of Strehlow. The movie propels you into one's view of the liberation of emotions by the means of artistic release, constantly gripping you into it's excruciation. Are you imprisoned by the past? The movie explores that theme without cynicism and without the actual clichés of current cinematographic creations. Each moment of the film exposes humanity to it's own existential romance in a way which will fascinate the viewer. Léa is a tormenting character, she will take whoever watches into her individuality, and let you share her freedom while being a prisoner of herself and others. A prisoner in whom you do not find speech, but liberation inside other means of expressions. Is love found by the means of words? Another question that elaborates the concept of romance. Lea should be seen, so that you see and feel a story, in which realities collide to form a union that separates the usual cliché from a new meaningful subsistence. The journey that is life, never ceases to continue in Lea: each must learn from hers or his own past to shine into the beauty of existence...
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