Amour Fou Film Der egozentrische Gedanke, nicht allein sterben zu wollen
Berlin zur Zeit der Romantik: Der Dichter Heinrich hat den Wunsch, durch die Liebe den unausweichlichen Tod zu überwinden: seine ihm nah stehende Cousine Marie lässt sich aber partout nicht davon überzeugen, zu zweit dem übermächtigen Schicksal. Amour Fou ist ein österreichischer Film von Jessica Hausner aus dem Jahr Die Hauptrollen spielen Christian Friedel und Birte Schnöink. Im Mittelpunkt. Amour Fou. Spielfilm / Österreich / Luxembourg / Deutschland / 91 min / Uraufführung: Un Certain Regard, International Film Festival Cannes AMOURFOUFILM. Filmographie · Filme in Produktion · STYX gewann bei dem deutschen Filmpreis vier Preisen: Beste Tongestaltung für Uwe Dresch. Wenn zwei Menschen sich töten, ist das dann Liebe? Egoismus? Oder bloß Angst? Jessica Hausner interpretiert in ihrem Film "Amour fou".
Wenn zwei Menschen sich töten, ist das dann Liebe? Egoismus? Oder bloß Angst? Jessica Hausner interpretiert in ihrem Film "Amour fou". Berlin zur Zeit der Romantik: Der Dichter Heinrich hat den Wunsch, durch die Liebe den unausweichlichen Tod zu überwinden: seine ihm nah stehende Cousine Marie lässt sich aber partout nicht davon überzeugen, zu zweit dem übermächtigen Schicksal. Amour Fou. Berlin, zur Zeit der Romantik. Der Dichter Heinrich hat den Wunsch, durch die Liebe den unausweichlichen Tod zu überwinden.
Amour Fou Film - NavigationsmenüDiese soll einem Hinweis der Bafin nicht rechtzeitig nachgegangen sein. Bitte geben Sie hier den oben gezeigten Sicherheitscode ein. The Tribe. Und genauso sitzt Henriette Vogel auf ihrem Stuhl: gehemmt, aber irgendwie anmutig. Er stellt sich die Frage, ob es doch Liebe war, was diese beiden Menschen verbunden hat. Er ist vom Leben angewidert und möchte daraus entfliehen.
Amour Fou Film VideoFilm complet romantique en français VF Amour Fou 2014 Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Abonnieren Sie unsere FAZ. In kleinka d rierter Gesellschaft. Den unerklärlichen Heinrich von Kleist als weichliches Fragezeichen? Die gezeigten Todesumstände sind frei battle of gods deutsch stream. Emotionale Ausbrüche oder Zuwendungen sucht man in diesem Film vergebens. Zurück bleibt eine makellose Wand mit Blütenmuster. Und habe nicht verstanden, warum dokumentierte Historie so falsch please click for source wurde. Der wäre zu egoistisch und egozentrisch.
She is stuck and it seems that life has no surprises for her until one day - she grows a tail and turns her life around. We all live in one story but different realities.
Or perhaps, we all live in one reality but different stories. And in between, there is just a mask. Thirteen year-old Marta has recently moved back to southern Italy with her mother and older sister and struggles to find her place, restlessly testing the boundaries of an unfamiliar city and the catechism of the Catholic church.
A young woman enters the kitchen and starts to prepare food mechanically. What first looks like a simple daily activity soon turns into obsessed preparing and eating.
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.
Berlin, early 19th century, Romantic Era, a time when Goethe's writings were leading many young boys to mysteriously commit suicide across Germany, it here we meet a young poet Heinrich Chrisitan Friedel.
Heinrich claims, "that it is not the fear of death, but the fear of life which he cannot live with. Amour Fou, Austrian director Jessica Hausner's follow-up to her successful look at dogma-less religious fervor, doubt and jealousy in her success Lourdes, is just as placidly composed and as narratively deliberate as its predecessor, and a brush of black-comedy underlies both.
Heinrich, in love with his cousin Marie, wants her to join his suicide pact, but she denies him.
Heinrich, forlorn at what he sees as his cousin's inconceivable refusal and distraught by his cousins' insensitivity to his sensibilities, yet seeming a bit like destiny he meets the married Henriette Brit Schoenik.
Heinrich holds her mystified, but when Heinrich proposes his suicide pact to her, it appears it will be another refusal, until Henriette finds that she is terminally ill.
The back-and-forth between Heinrich who does not quite want to give up on killing himself and Marie but does not want to miss his chance with Henriette, and Heinrich selfishly wanting Henriette to want to die out of pure love and not just because of her possible terminal-illness, while all the while knowing that it is Marie he loves most of all, works wonders for the complexity of the film and the intertwining of relationships within the narrative.
What makes Amour Fou standout among other films of it's like is the way in which Hausner, cinematographer Martin Gschlacht and production designer Katharina Woppermann capture the essence of this time in German history with a precise visual sense.
Each frame is structured precisely—especially the interiors which are geometrically defined tableaux —each sequence layered, some look as though they are tableaux vivant.
Most of the scenes are witnessed through a detached camera that allows characters to move in and out of the distinctive picturesque shots or on the contrary allows them to stand and be examined statically from a slight distance, allowing the audience to pick up on minute but important details like facial gestures, mannerisms, etc.
The musical piano numbers that are interspersed through the film, happening at each party, are mystifying, and are also filmed in the layered, tableaux form of most interior scenes.
Amor Fou impresses in how it handles characters, changes points of view with such ease, and handles the subject matter quietly and evenhandedly.
Yet, the most commendable outside the visual mastery of each scene is the way Hausner examines her characters non-moralistically, never harshly judgmental, nor relishing in their life altering mistakes.
The story itself and the time frame it is set in are based on real events, though Hausner does not paint herself into a corner attempting to stay true to the "facts," but the obvious social and historical elements of the story post-French Revolution and the spreading of those ideas to Germany, the inevitable fall of the Prussian Empire, and the effect of Romanticism in culture and arts of the time play well off of the scenarios and the metaphysical tribulations of the characters.
Hausner's empathy shines through as she delivers a thoughtful character study, ultimately examining the power of the mind and willpower, while at times playing delightful games with the audience, forcing us to question and to quantify how large the difference is between mental illness and true love.
Hausner tops the film off with a powerful and understated ending which stays true to the entire aesthetic of the film as a whole.
After her past two deliberately paced and highly contained character studies of equal visual propensity with Lourdes and Amour Fou every film lover should be on the lookout for Jessica Hausner's next.
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Plot Summary. Plot Keywords. Parents Guide. External Sites. Facing a failed relationship and a struggling restaurant, a woman hits the road for a trip with her grandson.
The mayor of Lyon is in existential crisis. After 30 years in politics, he feels totally empty and devoid of ideas. As a fix for this problem, his aides bring a brilliant young philosopher, into his inner circle.
At the age of 37, Simon is a seasoned doctor, who works with death every day in his department of pneumology.
As a good professional, he learned to protect himself. But when her mother is Alain Delambre is a senior executive worn out and humiliated by six years of unemployment.
So when a prestigious company selects him as a candidate, he is prepared to betray his wife, steal Arctic Circle aka Ivalo is set in the unforgiving polar region, amidst the icy landscapes of Finnish Lapland.
After Nina Kautsalo, a Finnish police officer, finds a dying prostitute in an Taken Down is a crime drama series set in Dublin.
The first series investigates the violent death of a young Nigerian migrant found abandoned close to a Direct Provision Centre, where I said nothing.
I had my project writing a novel about my family I had Elise and a wild desire to move to Paris. But to do all that I needed money and my grandmother was not about to give me any yet.
They never had that magical summer after graduating high school. But now they have the chance to make up for it, because their favorite band from back then is going on tour again.
The three men set off on their long-awaited adventure. Sign In. Keep track of everything you watch; tell your friends.
Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Episode List. Plot Summary. L'Amour fou Marquise.
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Bulle Ogier Jean-Pierre Kalfon.Vor allem wenn die Kulissen derart bunt und gleichzeitig derart klein bürgerlich sind. Doch click to see more ist gar nicht mehr so begeistert, denn jetzt stirbt Henriette an einem Tumor und nicht für ihn! Kleist war eher Subjektivist als Link. Kleist selbst setzt im Film die Pistole an die Stirn, obwohl er sich nachweislich in den Mund geschossen hat. Der Film sei click gewitzter durchaus feministisch zu nennender Einspruch, der sich unverblümt anachronistisch in die vergangenen Männersachen einmische und See more stifte, wo zuvor Unordnung gewesen sei. Meine gespeicherten Beiträge ansehen. Ähnliche Filme Höhere Gewalt