6.5/10
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4 user 11 critic

Montag kommen die Fenster (2006)

Frieder and his wife Nina, a doctor, are fixing up their house, though their relationship is obviously strained. Instead of picking up their young daughter Charlotte, Nina drives off to ... See full summary »

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Cast

Credited cast:
...
Nina Buchner
Hans-Jochen Wagner ...
Frieder Buchner
Amber Bongard ...
Charlotte Buchner
...
Christoph (as Trystan Wyn Pütter)
Elisa Seydel ...
Natalie
Ilie Nastase ...
David Ionesco
Ursula Renecke ...
Maria (as Ursula Renneke)
...
Fenstermacher
Stefan Kriekhaus ...
Dr. Alexander
Sülke Pierach ...
Trauernde
Rest of cast listed alphabetically:
Harry Baer ...
Herr Zander
...
Herr Buchner
Ingo Haeb ...
Frank
...
Frau Buchner
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Storyline

Frieder and his wife Nina, a doctor, are fixing up their house, though their relationship is obviously strained. Instead of picking up their young daughter Charlotte, Nina drives off to visit her brother Christoph in an isolated cabin. From there, she cycles to a sports hotel in the woods where she stays. Aimlessly wandering around the hotel, she has a brief encounter with an old tennis pro who has been giving demonstrations. Her brother, Frieder, and Charlotte find her, but she does not come home with them. After all the old windows have been removed, Frieder rejects the replacement ones that are delivered. Frieder has a liaison an old girlfriend Maria, who is now Charlotte's nursery school teacher. Nina returns to the house without windows. Written by Will Gilbert

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26 October 2006 (Germany)  »

Also Known As:

Montag  »

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1.85 : 1
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User Reviews

 
the best film I've seen all year
16 August 2006 | by (United States) – See all my reviews

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.


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