Paradise: Faith (2013)

Paradise: Faith

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AUDIENCE SCORE

Critic Consensus: No consensus yet.


Movie Info

In "PARADISE: Faith" Ulrich Seidl explores what it means to bear the cross. For Anna Maria, an X-ray technician, paradise lies with Jesus. She devotes her vacation to 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. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, comes home. Hymns and prayers are now joined by … More

Rating: Unrated
Genre: Drama
Directed By:
Written By: Ulrich Seidl, Veronika Franz
In Theaters:
On DVD: Oct 21, 2013
Box Office: $4.4k
Runtime:
Strand Releasing

Cast


as Drunken Russian

as Drunken Russian

as Mr. Rupnik

as Husband
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Critic Reviews for Paradise: Faith

All Critics (35) | Top Critics (12)

Much like his fellow Austrian filmmaker Michael Haneke, Seidl knows how to keep his audience captivated while rattling us with a discomfiting precision.

Full Review… | August 27, 2013
Miami Herald
Top Critic

Scenes are dramatic without a hint of melodrama, so when a flash of intensity does occur, it does so out of nowhere and registers even more powerfully.

Full Review… | August 23, 2013
RogerEbert.com
Top Critic

Now, here's the trilogy's second installment, in which the jolly Austrian makes it clear that women of a certain age do not have his permission to overdo it with religion, either.

Full Review… | August 23, 2013
New York Post
Top Critic

Like it or not, "Paradise: Faith" sticks in your head.

Full Review… | August 22, 2013
New York Times
Top Critic

A brutal, unflinching, anxiety-inducing, almost unbearably hard to watch film.

Full Review… | August 22, 2013
NPR
Top Critic

With little room to feel for or even understand Anna Maria, "Paradise: Faith" rarely seems more than high art with low intentions.

Full Review… | August 22, 2013
Los Angeles Times
Top Critic

Audience Reviews for Paradise: Faith

Anna Maria (Hofstatter) is a middle-aged Austrian working in a clinic by day, spreading the word of Jesus by night. Each evening, and at weekends, she takes a train to the poorer suburbs of Vienna where she knocks on doors, plastic statue of Mary Magdalene in hand, attempting to convert immigrants to Catholicism. Some are happy to indulge her but most inflict verbal, and even physical, abuse on Anna Maria. When her wheelchair-bound Muslim husband, Nabil (Saleh), returns home after an unexplained two year absence, her increased fundamentalism drives a rift between the two.
Across Europe, Christianity is dying out, yet those who choose to remain Christian are growing increasingly fundamental. Anna Maria is one such person. If you have a low threshold for these type of religious whack-jobs, Anna Maria will truly test your patience. I don't think I've seen a more despicable character onscreen all year, at least not in such a tangible form, and Hofstatter is eerily impressive in the role.
As you'd expect from an Austrian film, for the most part Seidl's second installment in his 'Paradise' trilogy (sandwiched between 'Love' and the upcoming 'Hope') is relentlessly grim. Watching Anna Maria inflict physical punishment on herself, like a Christian version of Isabelle Huppert's 'Piano Teacher', can be hard to watch, but for rationalists it's her constant mumbling of incantations which really grates. Interestingly, no subtitles are provided for these "prayers". It's a trick which is both clever and crude, reducing her words literally, at least for non-German speakers, to meaningless nonsense.
Among the general murkiness, we get the occasional moment of black comedy. A scene involving Anna Maria's visit to a mentally-challenged man provides some of the biggest laughs I've had in some time and reminded me of the infamous "cot" scene in Kubrick's 'Lolita'. The humor goes a little over the top towards the end, however, as Anna Maria and Nabil's bickering comes close to 'Tom & Jerry' levels.
Seidl frames his tortured protagonist in the same manner she thinks of herself: low. Anna Maria's eye-line is rarely higher than the midpoint of the frame. The same goes for Nabil, but of course he is wheelchair-bound. Both characters, Seidl's framing tells us, are crippled in different ways. The director's point, that religion is an affliction to the mind, ultimately cripples his film to a degree. Those who share his view of faith will require more than this simple and blunt message, while those who disagree are unlikely to be the audience for a film of this nature. When you preach solely to the choir, you can't expect any converts.

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