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Title: Amour Fou (2014)
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| Cast overview, first billed only: | |||
| Christian Friedel | ... | Heinrich | |
| Birte Schnöink | ... | Henriette | |
| Stephan Grossmann | ... | Friedrich Louis Vogel | |
| Sandra Hüller | ... | Marie | |
| Holger Handtke | ... | Arzt | |
 |
Barbara Schnitzler | ... | Mutter |
| Alissa Wilms | ... | Dienstmädchen Dörte | |
|
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Paraschiva Dragus | ... | Pauline |
| Peter Jordan | ... | Müller | |
| Katharina Schüttler | ... | Sophie | |
| Gustav-Peter Wöhler | ... | Hypnotiseur | |
|
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Marie-Paule von Roesgen | ... | Frau von Massow |
| Marc Bischoff | ... | Peguilhen | |
|
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Christina Landshamer | ... | Frau von Krahl |
|
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Gerold Huber | ... | Pianist |
Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his skeptical cousin Marie to join him in a suicide pact. It is whilst coming to terms with this refusal, ineffably distressed by his cousin's insensitivity to the depth of his feelings, that Heinrich meets Henriette, the wife of a business acquaintance. Heinrich's subsequent offer to the beguiling young woman at first holds scant appeal, that is until Henriette discovers she is suffering from a terminal illness Written by Cannes Film Festival
I haven't laughed so hard for a long time.
that is the greatest mockery, pure parody I have come across for a long time (watch it together with the Lobster-love as another convention-, even funnier than that).
that romantic poet was such a blockhead, probably as much as everyone and every institution around him. that is laughter, looking backwards from nowadays.
on a more serious base, that is proper history of manners a la Norbert Elias. the issue here is historical sociology and psychology and class dynamics; not the biographical-individual pain of creation or romantic aesthetics.