Montag kommen die Fenster (2006)

User Rating:

6.4/10   

Director:

Ulrich Köhler

Writer:

Ulrich Köhler (writer)

Release Date:

26 October 2006 (Germany)

Genre:

Drama

Plot:

Frieder and his wife Nina, a doctor, are fixing up their house, though their relationship is obviously strained...

Plot Keywords:

Female Masturbation | Pregnancy | Female Nudity | Tennis Player | Sex

Awards:

2 wins

Cast

Isabelle Menke	...	Nina
Hans-Jochen Wagner	...	Frieder
Amber Bongard	...	Charlotte
Trystan Wyn Puetter	...	Christoph
Elisa Seydel	...	Nathalie
Ilie Nastase	...	David Ionesco
Ursula Renecke	...	Maria
Devid Striesow	...	Fenstermacher

Also Known As:

Montag (Germany) (short title)
Windows on Monday (Canada: English title)

Country:

Germany

Language:

German

Color:

Color

Certification:

Germany:12

Filming Locations:

Braunlage, Lower Saxony, Germany

Company:

Ö-Filmproduktion

the best film I've seen all year

The term "exquisite" is largely insufficient here. Ulrich Koehler has accomplished nothing less than a cinematic masterpiece with WINDOWS ON Monday; a patient and poetic look at the linear nature of human behavior, as well as an observation on the anatomy of the relationship between man and woman disclosed elegantly in images that have the tonal and luminary texture of classical paintings. Rather than rely on expository dialog to detail the all-too-common predictable series of plot-points that plague most of modern cinema, this filmmaker and his astonishing cast instead illustrate the power of subtlety within a story that never ceases to captivate and fascinate; a choice that rings very true and very human (without losing an extremely unique dreamlike quality that saturates the film as well). Tarkovsky, Antonioni and Kieslowski come to mind here, although Koehler maintains a style all his own. Those with small attention spans and little patience for a film that refuses to spell everything out explicitly to its audience will doubtlessly be frustrated with WINDOWS ON Monday. The fact is, life itself is not predictable, nor is it always fast-paced; it is sometimes calm, yet full of confusion, contradiction, uncertainty and distraction. And, as Koehler masterfully demonstrates, love is also made up of such things. Both humorous and austere, surreal yet human, vulnerable and bold…this is true cinema, and truly art.