Two friends meet again to share their last days in an old house where everything happened a long time ago. They gather a group of people, which results in a disastrous turn of events, during which reveals the deepest human depths.
In the center of a monotonous suburban existence, Sarah lives silently and in subservience to her icy husband Patrick. They have been together far too long, and Patrick's affections for his... See full summary »
An unnamed doctor has always had everything he's ever wanted, but that has only made him develop more extreme and depraved needs. He kidnaps a young couple in the prime of their life ... See full summary »
The true history of Japanese Unit 731, from its beginnings in the 1930s to its demise in 1945, and the subsequent trials in Khabarovsk, USSR, of many of the Japanese doctors from Unit 731. ... See full summary »
A scientist taints his mother's scientific experiment with his own drug that transforms pain into a pleasurable experience. Unfortunately for the three women involved in the experiment, the drug works a little bit too well.
"Subconscious Cruelty" is divided in four segments: Ovarian Eyeball - a naked woman is sliced by a sharp blade and an eyeball is removed from her belly. Human Larvae - a deranged man that ... See full summary »
A dark secret connects Katze and Brauth, two middle aged men. Katze has the clue that his end is near. The two friends meet again after years to share their last days in the old house where everything happened a long time ago. With three women they met on their way, the atmosphere begins to recur a second time. When Heinrich, and old artist, decides to attend after all, the friends have their last chance to renew and cut with the history and to settle an old score. In the melancholy of the near end, Katze passes again all the situations in his life. In the hour of death, he is not alone anymore. His body is gone and his soul stays back in the same place where his destiny and fulfillment occurred. Written by
With its focus on audiovisual composition, THE ANGELS' MELANCHOLIA essentially is an emotional experience. Not enough, the complexly developed story also stretches out to themes of friendship, passion, revenge and death wish. This assumes intense preoccupation with all the multiple layers of the movie. In aesthetic, tender images the stunned audience witnesses events that blurred the frontiers between reality and fiction probably already during the shooting. Just apparently in contradiction the events are accompanied by citations of German contemporary history, which gives Marian Dora's work a powerful intellectual historical basis. The movie's structure is similar to the baroque cathedral which gets a central role in the movie: The story and (only on the first sight) marginal details get mirrored like a symmetry axis and seem to be the counterpart of the leading characters destiny.
A personal work of director Marian Dora, the movie defies all formal conventions of storytelling. In nearly all scenes the movie breaks up to the audience's expectations. Established viewing and thinking habits as well as generally accepted and provided moral patterns are getting destroyed and stay unusable. If comparisons are appropriate at all, THE ANGELS' MELANCHOLIA has its place between the work of Jodorowsky or Pasolini. However, the movie can't deny its German roots and openly admits its highly controversial underground cinema status: Poetic, radical, original, unwieldy and impossible to forget.
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