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The Court of Shards (2012)
"Scherbengericht" (original title)

 -  Drama | Family  -  2012 (Germany)
6.9
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Ratings: 6.9/10 from 14 users  
Reviews: 2 user

Despite their disabilities, the two friends Nora and Isabel try to lead normal lives. Strangely enough, it is their family, well-meaning friends and care workers who appear not to want that... See full summary »

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Cast

Credited cast:
Caroline Fricke ...
Nora
Silvia Giehle ...
Isabel
Natalya Bondar ...
Natascha
Baba Oury Barry ...
Amadou
Frank Hoffmann ...
Thomas
Anna Böttcher ...
Nora (voice)
Steffi Kühnert ...
Isabel (voice)
Alexander Scheer ...
Thomas (voice)
Rest of cast listed alphabetically:
Delphi Breger ...
Delphi
...
(voice)
Oliver Chomik
Andreas Christ ...
(voice)
Brigitte Cuvelier
...
(voice)
Doris Egbring-Kahn ...
Grandmother
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Storyline

Despite their disabilities, the two friends Nora and Isabel try to lead normal lives. Strangely enough, it is their family, well-meaning friends and care workers who appear not to want that at all. When Nora decides one day to marry her African lover Amadou, her family does everything in its power to stop her. The foreigner's presence sets in motion a series of unfortunate events: a suicide, a bitter deal, and a forced homecoming. And the consequences have only just begun... Written by Anonymous

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Drama | Family

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2012 (Germany)  »

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The Court of Shards  »

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no summary
2 January 2013 | by (Germany) – See all my reviews

The most beautiful achievement of Jan Eilhardt's film is its apprehension- a realization that when one seeks to portray disabled and sick people in film one CANNOT pretend to fully understand. Rather than holding open a door with an affected gaze- a door the sick and disabled can open themselves- one encounters them with an empathetic helplessness. J.E. regards his characters in the manner of Jean Cocteau who demanded that his artworks above all astound and astonish him. Proceeding from this demand and fulfilling it, J.E. creates or discovers a kind of open form in which his filmic gaze, following its characters in quasi-documentary mode, endows them with a freedom that in turn radiates throughout the film. J.E. is moved, but not in the manner of a mothering do- gooder who addresses himself to the less fortunate. He is much more like an attentively observant painter who is entirely impressed and possessed by his object. Only at that stage does his painting begin, not earlier. J.E. has created an artwork that enters an unknown land, the land of the sick and disabled, without ever colonizing it.


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