Young nurse Sissi lives a secluded life, seemingly entirely devoted to her patients at Birkenhof asylum. Her first encounter with ex-soldier and drifter Bodo has a lasting impact. He causes... See full summary »
In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants... See full summary »
Young nurse Sissi lives a secluded life, seemingly entirely devoted to her patients at Birkenhof asylum. Her first encounter with ex-soldier and drifter Bodo has a lasting impact. He causes an accident that results in her lying under a truck, unable to breathe. While he provides life-saving first aid, mesmerized Sissi begins to wonder whether he may be the man of her dreams. But when she tracks him down weeks later her affection is rejected, as Bodo is stuck somewhere between a traumatic past and a criminal future. Written by
Armin Ortmann <firstname.lastname@example.org>
When Bodo shoves Sissi into the mud during the rain storm, she gets up and turns slightly and the back of her raincoat and the back of her arms are covered in mud. A few seconds later she stands and walks away and there's almost no mud. It is raining but not hard enough to wash the mud away that quickly. If you compare the amount of mud on Bodo's face and shirt in the same amount of time, there's almost no difference. See more »
For me, a brilliant movie. There is so much of it, and any holes were not apparent at first viewing. But if it is not universally acclaimed, no-one is at fault. There's much magic in the hands of this director-writer. The casting is perfect; original in looks and body language, Furmann and Potente grace a modern fairy tale that says, well, something about fate, leaving the past behind, finding what you want right under your nose etc. All the old true clichés. This time, told with exquisite pace (slow), and beauty. A couple of shatteringly good scenes, well thought out, plotted and executed, all rounded out with a black humour and tender touch that keeps it CLEAR of pretension. The ending leaves a poignant, puzzled smile and an appetite for more German cinema. If you don't like this you must be a Van Damme fan.
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