As of 2001 she co-founded, together with And so the hidden half-lives of a civilly estranged father and daughter overlap to uproarious and finally devastating effect in “At 162 minutes, this episodic, slow-building study of reluctantly shared depression is baggy, yes, but necessarily so: The film takes precisely as much time as it needs for its muddled, maddeningly human characters, played with extraordinary courage and invention by Peter Simonischek and Sandra Hüller, to find their way into each other, and so into themselves. 38 wins & 41 nominations. There were lots of major announcements at DC FanDome 2020. Hüller has already proven herself, in such vehicles as Hans-Christian Schmid’s “Requiem,” an actress of uncommon intuition and expressive intelligence, though she hasn’t previously been handed a scene quite as soul-testing as the three minutes here that find her raggedly belting an impromptu karaoke rendition of Whitney Houston’s “The Greatest Love of All” with riotous, to-hell-with-it personal conviction — a feat that rightly earned a rare mid-film ovation at the film’s Cannes press screening. Maren Ade is a German film director, screenwriter and producer. Though she has kept herself busy producing for Miguel Gomes, among others, in the interim, one hopes a deserved Cannes competition berth earns her latest (a complicated commercial play, it must be admitted) enough international exposure to hasten further projects of her own.In case you’re wondering, “Toni Erdmann” is the name of neither protagonist in the film — until, following a mid-narrative segue into brazenly extended bluff-calling and curiously cathartic roleplay, it kind of is. (It’s an inspired choice: The song’s corn-syrup lyrics are so cloyingly on-the-nose in a story of self-empowerment and parent-child affection, they somehow come around to being moving.) When his beloved, elderly mutt finally gives up the ghost, Winfried has even less to build his life around than usual; reconnecting with his only child Ines (Hüller), now a thirtysomething, pantsuit-clad corporate go-getter stationed in Romania, becomes his next project.Trouble is, Ines is less outwardly keen to bridge the gap than her father is, particularly when he turns up unannounced in Bucharest for a surprise weekend visit. It’s a sober, controlled drama about an … As of 2001 she co-founded, together with Janine Jackowski, a fellow graduate from HFF, the "Komplizen" film company. What we rarely consider is the equal number of imperfect facets — incompetence, insecurity, simple loneliness — that our parents do their best to conceal from us. Maren Ade (* 12.

Ade, 40, studied film in Munich and made her debut feature The Forest for the Trees (2003) as her graduation film. (A clever, pose-matching cut by editor Heike Parplies takes Winfried from mourning in his garden to idling against the office greenery of Ines’ office lobby, neatly dramatizing a rash impulse in one wordless swoop — even at such extravagant length, the moment-to-moment economy of Ade’s filmmaking frequently impresses.) She’s matched beat for beat in technical bravado and internal insight by Simonischek, a Austrian veteran of stage and TV, who’s unafraid to go big on the clownish aspects of Winfried’s personality, while zeroing in on the very specific, deep-rooted sadness that drives them.Ade, likewise, pulls off grand emotive gestures while grazing across subtler dramatic nuances so casually observed — thanks to Patrick Orth’s determinedly unshowy but rigorously character-fixated camerawork — that they seem almost accidental. To synopsize events much further would be to impede viewers’ enjoyment of Ade’s consistently unpredictable relationship anatomy, as well as the ever-more-precarious trapeze walk of its heightening comic tone — as the fallout from Ines and Winfried’s falling-out subsequently colors pained interactions with her friends, boyfriend and colleagues, and her depressive nature, generally held in check, begins to unravel. What ensues is 48 hours of wince-inducingly believable emotional cruelty and cluelessness, as Ines half-heartedly drags Winfried to a series of professional engagements and they progress from terse niceties to searingly acute confrontation. “Are you really human?” he finally snaps at her, in one of those rupturing parental gaffes that even an immediate apology can’t erase.An entire film could have been constructed around that nightmare weekend, but “Toni Erdmann” is only getting started. Choose an adventure below and discover your next favorite movie or TV show. Another Maren Ade was born in Karlsruhe on 12 December 1976 to a couple of teachers.She studied cinema at Munich's Hochschule für Fernsehen und Film. Ade lives in Berlin, teaching screenwriting at the Film Academy Baden-Württemberg in Ludwigsburg.

Variety and the Flying V logos are trademarks of Variety Media, LLC. A deliberate, gradually farcical opening scene introduces Winfried Conradi (Simonischek), a divorced piano teacher aimlessly whiling away his semi-retirement in suburban Germany, as a habitual master of prankish disguise, practising multiple personae on a bewildered postman. The 1985 video for Whitney Houston’s version of “Greatest Love of All” is now – after Houston’s years of alleged abuse in her marriage with Bobby Brown, her drug addictions, her death in a bathtub at age 48 in 2012, and the subsequent 2015 death of her daughter Bobbi Kristina Brown – almost unbearably sad […] Together with Janine Jackowski and Jonas Dornbach, she also runs the film production company Komplizen Film.

Dezember 1976 in Karlsruhe) ist eine deutsche Filmregisseurin, Drehbuchautorin und Filmproduzentin. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. A writer as skilled and attentive to loaded details as Ade could likely have told a touching, redemptive tale of a harried businesswoman and her befuddled dad resolving their differences and finding common ground in half the running time, but “Toni Erdmann”  has many more things racing and sometimes reversing through its mind. Engrossing in its own right, that fragile father-daughter relationship becomes a prism through which Ade addresses a far broader spread of contemporary manners and mores — not least a tacitly blistering feminist evocation of the everyday setbacks faced by women in the workplace.That Ade’s screenplay limbos through such potentially clashing levels of sentiment and subtext without ever feeling diagrammatic or self-consciously declarative is no small miracle of dramatic construction, though her facility and fluidity with tone shouldn’t surprise any who saw her previous feature “Everyone Else” — a sexy, funny, emotionally battering beauty of a breakup drama — seven long years ago.

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