Sebastian, a young male prostitute, is one of Georgs few remaining chances to break through his hermit-like everyday life in exchange for a few fleeting moments of being together with ...
See full synopsis »
Sebastian, a young male prostitute, is one of Georgs few remaining chances to break through his hermit-like everyday life in exchange for a few fleeting moments of being together with someone at least for a few hours. Georg loves Sebastians easy-going and playful manner. He loves the absurd stories that the boy spontaneously comes up with and Georg never knows whether to actually believe all of them or not. And it looks like today Georgs long cherished dream will finally come true: this time the boy asks him if he can stay overnight of his own free will. Georg does everything to fully enjoy the rare and valuable moments he hopes for more. Yet the more Georg dares to get closer to the boy, the more Sebastian breaks off contact with him. Within a short space of time, the boy seems to age by many years. He is looking for help. Georgs hopes are shattered. They start arguing. However, that very same evening, Sebastian is standing in front of his door again. He has come to say goodbye. By ...
Already the first scene, in which Mr. Kuhn repairs a broken porcelain bowl with affectionate accuracy, tells us about the essence of the protagonist's inner character. The inner and outer treasures he collected during a 70 years lasting live and that surround him still now, create a perfect personal microcosm in which Mr Kuhn lives absolutely satisfied.
The opposite: In this life contacts to the outer world are sporadic. Each week he allows himself to invite a young hustler to his home. The combination - an elder man and a boy - might sound a bit like "Death in Venice" or "Gods and Monsters" but indeed things become totally different - the relationship turns to the opposite: Georg (sensitively played by Michael Gempart) is far away from resignation or thanatophobia. In proportion to the young Sebastian (Leander Lichti) he rather overtakes the positive and optimistic part. His childlike joy to search for possibilities to offer little advertencies to others doesn't make him look like an old man. In fact he beautifully behaves like someone who discovered the way to reunite mature wisdom with innocent naivety.
Stefan Westerwelle's final project at the Academy of Media Arts Cologne is a very warmhearted debut, in which tiny gestures and precise looks allow the audience to have a gaze into a private and magical world. At the same time he beautifully and sensitively deals with the issue of homosexuality in advanced ages, so that it's clear, that it's nothing one has to be ashamed of. (Seen at Newfest NY)
Wonderful! --- If you don't like to have such a director in Los Angeles, well, we don't care - we like him to stay in Europe anyway! ---
3 of 4 people found this review helpful.
Was this review helpful to you?
| Report this