A medieval love story with lots of adventures. The times are troubled - there's a revolt of peasants going on. To secure its safety a monastery chases for a relics of a holy Brigitte. A ... See full summary »
On a nice summer day a funny little car rolls over a peaceful farm yard of Muhu island. The family that withdraws from the vehicle is quite odd-looking: an overbearing madam, a henpecked ... See full summary »
What unfolds against the backdrop of the story of Klára Knabelová (Viktorie Cermáková) and her relationships with three Austro-Hungarian Army officers is a parable of the collapse of the ... See full summary »
Luis Ortega's apocalyptic third feature follows a group of five survivors as they embark on a journey that will force them to face their fears, dreams and longings in their quest for salvation across the Fijman River.
A young writer called Mati is stalking his ex-wife, while also trying to make unsuccessful passes at other women. Augusti is a barber living a dreary bachelor life who forms a bond with little girl, but his approaches are misconstrued as pedophilia. Laura, a single mom, tears up over sappy soap operas, but refuses real-life advances from clueless men, because her ability to trust has been ruined by her violent drunk of an ex-husband. Maurer, the architect, worries about the wellbeing of humanity, but ignores his own wife Ulvi, who in turn looks for solace in the arms of a coatroom attendant named Theo. Women have always liked Theo, but due to his low social status, they don't take him seriously. All of these people might inhabit identical tower blocks, but they couldn't feel more alienated from each other if they tried. Written by
Veiko Õunpuu could have done something meaningful by staking out new ground or a new vision from a unique eastern European perspective. Instead he decides he wants to make an existential-angst/ennui type of "made in France" film to fit in with other "cool" western European cinema. Literally every scene is a copy of other clichés from other European films. The director wanted to stake a "me too" claim and he has succeeded in that, nothing more. There is nothing uniquely Estonian, about the plot/narrative.
At over two hours, with many scenes shot in real time mode, it is torture to watch. Even one hour into the film, we still don't have empathy for any of the characters. The suffering of each character is rigidly imposed and artificial.
AVOID! Save your eyes and mind.
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