The Painter and the Thief
The Half of It
The Vast of Night
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In spite of such a sad story and a hopeless ending, it made me feel comfortable.
Amazingly tense and emotional
Some pretty ho-hum acting by most involved. I watched the English-dubbed version. Maybe the dub was just bad. Everything seemed wooden. Besides the acting the overall set seemed intentionally dreary and rainy almost the whole movie. Pretty depressing, and not exactly entertaining. Overall this was a letdown for me, and I wouldn't recommend it.
Great low budget movie with a clever story. Diane Kruger is excellent.
Delving unrelentingly into the psyche of a victim of terrorism, Diane Kruger kindles empathy in her explosively gut-wrenching Cannes prize-winning performance as a family woman paralyzed by unspeakable grief, pain and loss in this Golden Globe winner for Best Foreign Film.
thought I would have a hard time with the fact that i don't have much experience watching foreign language films, but i was sucked in by diane kruger's amazing performance
1st Act: Emotion. This is the act were the toughest things happen. This is were Diane Kruger acts the freaking hell out of this movie. Not that she's bad after, but if you aren't convinced about her performance here, I don't know what to tell you.
2nd: Plot precision. There is plot since the start, of course, but here, there is alot of attention to detail, the story goes one way and settles the table for the third act. Is more than anything a plot driven part, with little character moments here and there, but is perfectly done.
3rd: Visual Symbolism. The ending closes the movie on a literal note too, but serves the purpose of elevate the whole thing to another level by some, although a bit obvious, beautiful symbolism where everything that the movie stands for is clear for you to process
Fatih Akin, the writer and director of Aus dem nichts (lit. trans. From Nothing) is a political individual; he makes political films and he makes political statements in his personal life. Akin identifies as a German-Turk; he was born in Hamburg, but his parents are both Turkish, having come to Germany with the first wave of Turkish immigrants following the Wirtschaftswunder of the fifties and sixties. He lives and works in Germany, and although almost all of his films are set there, and all have German-funding, he considers himself a Turkish filmmaker. When he won Best Screenplay for Auf der anderen Seite at the 2007 Cannes Film Festival, he accepted the award "on behalf of Turkish cinema." Easily the best known/most notorious of his political statements, however, was in 2006 when he was photographed wearing a t-shirt with the word "BUSH" on it (the "S" replaced by a swastika). Displaying a swastika in public is against the law in Germany, and after a complaint was made, he was investigated by German police. He later defended the shirt, stating "Bush's policy is comparable with that of the Third Reich. I think that under Bush, Hollywood has been making certain films at the request of the Pentagon to normalise things like torture and Guantanamo ... My T-shirt is more than mere provocation. You have to look into the context. The swastika is not there on its own, but as part of the word 'BUSH.' One would have to be pretty stupid, not to understand that."
Akin's main political preoccupation, however, is the experience of Turkish immigrants in Germany, specifically the racism often directed towards them, which is oftentimes found masquerading as patriotism. However, with that in mind, Nichts (co-written with Hark Bohm) doesn't jump off the page as a typical Akin film - when former convicted drug dealer Nuri Sekerci (Numan Acar) and his son are killed in a bomb at his office, his wife Katja (Diane Kruger) has faith that the police and courts will find and punish those responsible. However, as Katja finds herself becoming more and more disillusioned with the systems which are supposed to be on her side, she comes to believe she must take things into her own hands. Read like that, this could be any number of bad Hollywood movies. However, when we include the fact that Nuri is Turkish, and that the police quickly come to suspect the bombing may have been perpetrated by a Neo-Nazi group, it fits much more comfortably into his oeuvre. Unfortunately, it's not very good.
First of all, it's rigidly divided into an intentionally artificial three-act structure, with each act given its own title, and introduction by way of home-movie footage. One of the most significant problems is that the acts simply don't yoke. The first is a pretty decent study in grief, the second is a rather dull court-room drama, and the third is a bizarrely hollow investigation into the morality of revenge. The last act mirrors the first in its use of slow pacing, long shots of people not doing very much, and sparse dialogue (as opposed to the very wordy second act), and while this is interesting in setting the narrative up in the first act, it falls flat in the third, as the whole thing ends up coming across as rather po-faced and self-important; a film convinced of its own profundity. For all that, however, up until the conclusion, it's entertaining enough, in a fairly disposable way. But then the bottom falls out. The last scene itself is actually pretty good. It's what happens next that irritated me. This has not been an especially political film - the Neo-Nazi storyline barely features; a few mentions by police in the first act, a single scene in the second, and a couple of short scenes in the third. That's it. As Katja is the only character who is really given any degree of agency, the Neo-Nazi characters are little more than background extras (in fact, in some scenes, they are literally background extras). So this is not a film which spends a lot of time delving into issues of racism in Germany or offering insight into the rise of Right-Wing Populism across Europe. It's a revenge drama. However, as it ends, a legend informs the audience how many race crimes are committed against Turks in Germany each year. The film has absolutely not, by any stretch of the imagination, earned the right to preach in this way. It's almost as if Akin forgot he was trying to make something political, only remembering in time to throw together a vaguely worded statement on the sufferings of his people in an effort to give the audience something to think about. It doesn't work, with the statement serving only to trivialise the issue by trying to tie it to a film in which it barely featured, and it leaves a decidedly bitter aftertaste.
Great acting all around. Intense and timely plot.
En la sombra