Anna Maria, a single woman in her 50s, devotes her summer vacation to doing missionary work, so that Austria may be brought back to the path of virtue. On her daily pilgrimage through ...
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The final installment in Ulrich Seidl's Paradise trilogy, 'Paradise: Hope' tells the story of overweight thirteen-year-old Melanie and her first love. While her mother travels to Kenya ('... See full summary »
On the beaches of Kenya they're known as "Sugar Mamas" -- European women who seek out African boys selling love to earn a living. Teresa, a fifty-year-old Austrian and mother of a daughter ... 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 »
In conurbations where hundreds of thousands live alongside one another, in the era of a highly technological society, in which communication has never played such a significant role, man ... See full summary »
This is a film about the 'students ball' in Horn, the little Austrian town Seidl grew up. The movie portraits the young débutantes as well as the local notables, all of them eagerly involved in maintaining the stiff and stifling ritual.
An alien narrates the story of his dying planet, his and his people's visits to Earth and Earth's man-made demise, while human astronauts attempt to find an alternate planet for surviving humans to live on.
Anna Maria, a single woman in her 50s, devotes her summer vacation to doing missionary work, so that Austria may be brought back to the path of virtue. On her daily pilgrimage through Vienna, she goes from door to door, carrying a foot-high statue of the Virgin Mary. When her husband, an Egyptian Muslim confined to a wheelchair, comes home after years of absence, her life is turned upside down. Written by
In Response to bernporr's poorly conceived "critique"
I should already clarify at the outset, that I am a sucker for the films of Ulrich Seidl, so don't be surprised that my review steers heavily in favour of him. I am Austrian too, which might settle a few things that bernpoor did not get about the picture.
First of all, I hate the measure of pure sophistry and straw- grasping that people do when it comes to this film: "It feels as if made by* a film school graduate who got the assignment to create a collage of gritty situations related to faith."
Yeah, you know what, mate, I just watched "The Wolf of Wall Street" and it feels as if made by a film school graduate who got the assignment to create a collage of darkly humoured situations related to stockshare-speculating in the US, JUST TERRIBLE !!!! .... your logic basically, bernporr. If it weren't a coherent storyline, you would have a point, but this is not a Winding Refn- gig, where things are just subjectivistic, loosely tied, pretentious garbage! As for "The Paradise Trilogy", there's a vast repository of subtleties to catch on repeated watches (the audio most notably), even then the movie can be profound as well as minimalistic and simplistic. Everything in it and how it is postured accumulates the style neatly, if you wanted a more pronounced, handfisted kind of plot with unforeseen twists and turns, why'd you watch this mild sort of character study in the first place? What would you have done better with the given subject matter?
Also no mentioning the actual genre of the film shows just how little you know about cinema in general (tips fedora), that would be Cinéma Vérité or "cinema of truth", a branch of documentarian filmmaking, commonly used by the likes of Alfonso Cuaron, Seidl, Michael Haneke or Alejandro Gonzales Inarritu.
Prodding into your IMDb-history I also see how you just do this to every film that you slander ("Anomalisa" also, simply stating that "a story of depressed middle-aged men has been done before").
Obviously there's a cultural and linguistic barrier between the UK and Austria, you also did this nationalistic thing where you compared Seidl's style to a branch of British cinema, as if even that were true, which it is not, that would make a f**king difference, you mong. Everything is furthered from an already existing thing, you know.
If you only had said it bored you, I would've believed you, but instead you went on a subjectivistic tangent to justify you not liking it. There's nothing wrong with not liking it, but you can still admit to it's merit. It would be the same with me and "2001: A Space Odysee".
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