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All Critics (11)
| Top Critics (3)
| Fresh (9)
| Rotten (2)
Stuber refuses to allow any action his protagonist Christian (Franz Rogowski) takes to truly go anywhere.
A lyrical portrait of emotionally damaged misfits sharing a soulless working environment in contemporary East Germany, In the Aisles is full of tender observation and humane empathy for its downtrodden protagonists.
We could spend forever watching two such interesting actors as Hüller and Rogowski glimmer at each other, his bashful hopefulness meeting her considering eyes, which are strangely serious however merry or mischievous her expression.
While charm abounds, these promising moments are spaced sparsely throughout the film's weighty runtime and ultimately left me wanting more from this well-intentioned drama.
It's a chronicle of blue-collar workers who depend on each other for emotional sustenance. A deep sadness lurks under the laughs. It seeps under your skin.
Like a German In The Mood For Love, the film follows a difficult forbidden romance that is aesthetically beautiful to watch.
Finds beauty and stylish choreography as workers go about their regular tasks, affection and understanding as they share glances across the shelves, and camaraderie as they weather ups and downs both inside and outside the store.
As we meander through the aisles, it is melancholy and poignancy that become the driving forces, and this switch in tone is slightly too jarring. It's the only fault in an otherwise outstanding feature.
The tender, tentative romance between Christian and Marion is affecting, personal, and a succinct representation of the desperation to find love in alienating surroundings.
In the Aisles is a poignant and richly sympathetic film.
With the aid of affecting performances and a good eye for the virtuoso moves of a forklift truck, director Thomas Stuber mines the magical in the mundane.
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