Paul and Christine know: Their teenager daughter Sarah, thrown by their separation, is capable of about anything, including killing her best friend. Wanting to protect their daughter they ... See full summary »
Ulrike C. Tscharre,
Love Actually... Sucks! was inspired by real-life events, and opens with a dramatic wedding feast. It tells a variety of stories about love that has gone wrong: a brother and sister in an ... See full summary »
Yella is estranged from her possessive and violent husband; but he can't quite bring himself to give her up. When their fraught interaction finally comes to dramatic conclusion, Yella's life takes an odd shift.
A girl, Carola, whose vacation in Kenya takes an interesting turn when she becomes infatuated with a Masai. Carola decides to leave her boyfriend to stay with her lover. There, she has to ... See full summary »
1980, West Germany. Frank Lehmann is drafted into the Bundeswehr because he neglected to object. As his petty-bourgeois pa claims his room for TV repairs, Frank moves in with hippie ... See full summary »
They once played together in a band called Chix and were inseparable. Today, each of them has their own problems. Karla as a rival -- her husband has a new girlfriend in the form of a ... See full summary »
Sophie von Kessel
Everybody is busy trying to save someone else in Swiss director Alain Gsponer's first general-release feature. Roland tries to save his son Charles from homosexuality. Sybille, Roland's prototypical frustrated gallery-owning wife, tries to save the neighbors' daughter from her loopy parents and turn her into the biggest thing since Rothko. Charles tries to save his introvert kid brother Linus from blowing himself up with home-made explosives. Florina (Hannah Herzsprung, going places) is the only one not trying to save anyone. She is busy hurting herself, charring, boozing, shaving, drugging, cutting, drowning till the morning comes. Oh, and there's a dead kid buried somewhere too. As a running gag, Roland is vainly trying to tear down a wall in their living room. Much like the script, the wall won't give. This one will go straight to film studies discussion group hell, bleak suburban family trauma, the metaphor of spatial transgression, Bergman transferred to post-capitalism, pervasive architectural symbolism, you name it. Extra thumbs down for Katja Riemann's poorly shaved armpits.
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