No Place to Go
(2000)
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No Place to Go
(2000)
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| Credited cast: | |||
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Hannelore Elsner | ... |
Hanna Flanders
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Vadim Glowna | ... |
Bruno
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Jasmin Tabatabai | ... |
Meret
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Lars Rudolph | ... |
Viktor
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Michael Gwisdek | ... |
Joachim
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Nina Petri | ... |
Grete
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Tonio Arango | ... |
Ronald
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Claudia Geisler | ... |
Carmen
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| Catherine H. Flemming | ... |
Isabelle
(as Catherine Flemming)
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| Rest of cast listed alphabetically: | |||
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Thomas Bading | ... |
Alfons
(as Thomas Barding)
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Gunda Ebert | ... |
Claudi
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Hansjürgen Frintrop | ... |
Verlagsangestellte
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Michael Gaißmayer | ... |
Unscheid
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Helga Göring | ... |
Hanna's Mother
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Christine Harbort | ... |
Irene
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Flanders, a famous female author, travels 1989 after the fall of the Berlin wall into the German capitol. She is deeply depressed of the events because she saw the communistic states as a very good thing that has now ended. In the joy of these days she finds no person to understand her, so she has to travel back to Munich. After meeting several people, known and unknown, it seems as if there will be no way to go. Written by Benjamin Stello
The premise of this movie is a little silly, that a spoiled 50 year old Leninist writer living in West Germany finds her life unraveling due to the fact that the Berlin Wall has just come down. It's a little far fetched, but not entirely unbelievable. Like the flip side of "it's an ill wind", in this case it would be "it's a rare wind that doesn't blow somebody ill".
And I suppose it's pretty obvious that Hanna Flanders is meant to represent and symbolize the badly faded beauty of communism. But this didn't have much resonance for me.
All that political stuff aside, this was an extremely episodic movie. And unfortunately, most of the episodes just fell flat. One or two were engaging, and one, the one involving her spending the night with her horribly alcoholic ex-husband, was both pointless and extremely ugly, almost unwatchable.
The upside is that this was an extremely well crafted movie, apart from the screenplay. The cinematography, acting, directing, were all first rate. It's a pity they were wasted on a screenplay that was as cold, flat and ugly as the old regime it was directed against.
Another positive aspect is that the whole syndrome/complex of someone trying to use drugs to cope with reality and maintain an emotional equilibrium was well observed. And the fact that it was someone who should know better, an intelligent middle aged woman, was also useful. As shallow and self centered as Hanna is, I still felt some pity for her as a fellow human being.