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 ...
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The only feature film by the painter and documentary filmmaker, Juergen Boettcher. Inspired by the Italian neo-realists, he developed a sensitive style characterized by accurate social ... See full summary »
In a suburb of Vienna during some hot summer days: A teacher who is in bondage to a sleazy pimp, a very importunate hitchhiker, a private detective on the run for some car vandals, a couple... See full summary »
Saint Tropez, 1975. Julie Wormser and her lover, writer and neighbour Jeff Marle, plan the assassination of her wealthy husband Louis, an impotent who drinks a lot. She hits him, and leaves... See full summary »
Just when Michael arrives in Berlin to visit his ex-girlfriend Gabi, a terrible virus starts spreading across the city at a rapid pace, turning people into mindless homicidal maniacs. Much ... See full summary »
"Risttuules" is very emotional and tragic movie about mass deportation to Siberia based on memories of Erna. It all started 14th of June 1941 when trucks came for the innocent families with... See full summary »
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
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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