Faust (III) (2011)

Not Rated  |   |  Drama, Fantasy  |  15 November 2013 (USA)
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Ratings: 6.7/10 from 3,776 users   Metascore: 65/100
Reviews: 20 user | 115 critic | 16 from Metacritic.com

A despairing scholar sells his soul to Satan in exchange for one night with a beautiful young woman.



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Cast overview, first billed only:
Anton Adasinsky ...
Georg Friedrich ...
Antje Lewald ...
Margarete's Mother
Florian Brückner ...
Valentin's Friend
Sigurður Skúlason ...
Faust's Father
Andreas Schmidt ...
Valentin's Friend
Oliver Bootz ...
Valentin's Friend
Jonas Jägermeyr ...
Valentin's Friend
Igor Orozovic ...
Valentin's Friend
Jirí Hampl ...
Valentin's Friend
Joel Kirby ...
Pater Philippe


A despairing scholar sells his soul to Satan in exchange for one night with a beautiful young woman.

Plot Summary | Add Synopsis


Drama | Fantasy


Not Rated | See all certifications »

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Release Date:

15 November 2013 (USA)  »

Also Known As:

Fausto  »

Filming Locations:


Box Office


€8,000,000 (estimated)

Opening Weekend:

$10,030 (USA) (15 November 2013)


$58,104 (USA) (25 April 2014)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.37 : 1
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Referenced in Nanoman: Fekalonia (2015) See more »

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User Reviews

Down in the dumps
4 November 2014 | by (United States) – See all my reviews

It begins with the evisceration of a corpse, and that could be a metaphor for the way this alleged adaptation proceeds - except that Goethe's "Faust" is not dead, only given the dead-letter treatment here. The film's emphasis is on gross, clumsy physicality: you never saw so many actors stumble as they walk, bumping into things and one another; too artless and unfunny for slapstick, the universal jostling is prevented from being laughable by funereal pacing and the array of hangdog faces. Since the Faust figure (Johannes Zeiler) conveys very little in the way of intellect, all that elevates him is that most of the other characters have been made open-mouthed gapers, presumable halfwits. Wit is barred out anyway by the color-palette, all various hues of mud - the surest sign of high-serious intentions in movies nowadays. In exterior shots the sky is overexposed so it shows as a gleamless white blur; the earth is dun-colored, greens are gray-tinged, and reds are virtually absent, on their rare appearance tending to brown, like bloodstained linens oxidizing. The cut of the men's clothing updates the story to several decades after Goethe's time: trousers are worn, rather than breeches and hose. The fabrics are thick, heavy, coarse, and of course dark-dyed and fraying badly. No one could think of playing the dandy here. Strangely, there seems to be no Republic of Letters either. The few characters with intellectual interests neither write nor receive letters; they're isolated from enlightenment and worldly affairs: no one awaits the postman; no one looks at a journal of science or politics or the arts - this is a stupefying omission, as false to the historical period as it would be to Goethe's own. Sokurov's flight from historical particulars strands his Faust: the fable and the character become "timeless" in all the wrong ways. Faust doesn't represent his age's high hopes, or its seeds of self-destruction; but then he doesn't represent our age either. Sealed off in its remoteness, Sokurov's "Faust" is just another - all-too-familiar - sulking, glooming art-house reverie.

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