The German filmmaker Wim Wenders was awarded this year at the Berlin Film Festival for his life’s work. Be filmed in 3D drama “Everything Will Be Fine” shows us why.
“Everything Will Be Fine”
- Release Date: 02 April 2015
- Genre: Drama
- Rated: 6
- Running Time: 119 min.
- Camera: Benoît Debie
- Music: Alexandre Desplat
- Book: Bjørn Olaf Johannessen
- Director: Wim Wenders
- Cast: Rachel McAdams, James Franco, Charlotte Gainsbourg, Peter Stormare, Julia Sarah Stone, Robert Naylor
- OT: Everything Will Be Fine (D / CA / FR / SE / NO 2015)
Wim Wenders’ complex character study “Everything Will Be Fine” is a film of contrasts. Where the 3D effect is usually reserved for the big blockbuster movies, the German filmmaker uses it for his award-winning dance documentary “Pina” here a second time and takes his film using the third dimension in the truest sense of the word, the one-dimensionality. His star ensemble stands and falls with a handful of Hollywood stars who, with the exception of the French Edelaktrice Charlotte Gainsbourg (“Today I’m Samba”) push against her Hollywood forced on image. Part-time comedian James Franco (“The Interview”), who is known for his acting versatility in any case, is a moth-author of melancholy for the best. The little Herself to be recognized Rachel McAdams like in their extremely restrained role, Peter Stormare (“Hansel & amp; Gretel: Witch Hunters”) is the doddering old fool and only Charlotte Gainsbourg remains true to its shy-verhuschten role schemas and enthusiastic yet one more time. Just like the 3D, which wraps the story as an additional color, Wenders has also cast its excellent grip. They are all part of a film whose expressive power does not come from any grandstanding, but nuanced chosen by his dialogues and details in the voltage profile. “Everything Will Be Fine” puts everything on one card, which is equivalent in this case to the state of mind of the characters and sets existential questions about our transience of all, but also about guilt, atonement and differentiates between forgiving and forgetting.
A winter evening. A country road. It’s snowing, the visibility is poor. Out of nowhere, a carriage coming down a hill slipped. Emergency braking, the car comes to a stand. Silence. The writer Tomas (James Franco) is not to blame for this tragic accident, as well as the little Christopher, the better his brother could watch or Kate (Charlotte Gainsbourg), call the mother of two who had children earlier in the house to. Tomas falls into a deep hole. The relationship with his girlfriend Sarah (Rachel McAdams) is broken by the load. Tomas saves himself in his writing. But he can to process experiences that involve the suffering of others? The film follows his attempt to give life meaning again and set up their own family. Just as he follows Kate and Christopher until 17 years old and decided to seeing these strangers, he has only once, on that fateful evening taken.
In “Everything Will Be Fine” to German: “Everything will be fine,” the name says it all. Faced early in the course of action we the director with a totally terrible event, which we feel can hardly stand neutral to a spectator. Wim Wenders asks his audience with simple means to a personal opinion, of which is dependent upon and after the emotional profile of the strip. Depending on how you judge the behavior of the main character Tomas for yourself whether you are right or his actions for the protagonist degenerates into your own eyes the dead-egomaniac, and the film takes an entirely different positions. Wenders says just as much from the perspective of Tomas, but also from his family and juggling alongside skillfully with various genre influences. Through the morally ambiguous topic, but also due to the highly technical equipment sighted in picture and sound his film has the atmospheric density of a thriller. From plots layer, however, told “Everything Will Be Fine” dodgy drama fabric that is never out to undermine the public’s expectations active. Although Wenders’ production comes little predictable, so the viewer has the harsh refraction of the swirling atmosphere, much less modification of the so popular in the horror film Jump Scares not fear. In addition, the story proceeds in a slowness through which “Everything Will Be Fine” by the almost lethargic mood structure automatically closes the mainstream and the audience much sitzfleisch calls.
For a long time let’s director Wenders and scriptwriter Bjørn Olaf Johannessen in the dark about how they themselves, are at the statement that in the end everything will be fine. Not once forced “Everything Will Be Fine» this question and include this statement at best the focal point for using this to design an emotional construct that describes how differently manner tragedies can be processed. Basically, the ambiguous statement of the title could just as well with the familiar adage “time heals all wounds” rewrite, because as well as the hope of a psychological cure any in the tragic accident people involved is paramount but also the appeal to Tomas, despite this emotional exceptional situation not to lose the interests of its environment in mind. It especially comes to making a conversation between Franco and Gainsbourg’s figures significantly in the period of the blame is not the question. The viewer is watching the action from the outside, usurps the ratings of behavior and to get out but remember that there is not a panacea for human tragedies through the beguilingly simple game of Gainsbourg’s character. Thus, it is mainly the realization of one’s own transience that remains when you can complete all the tried blaming ignored.
“Everything Will Be Fine” is a film in which, despite little 3D effect happens on the screen. The dialogue-heavy strip lives by observing the scenery and the relative rubric of very different discussions of the different characters, which affects up last on the content of intensity. The three-dimensionality, which captivates especially by an enormous depth effect, the state of mind of the characters emphasizes powerful and emphasizes the origin of the film as meticulous character study. Cinematographer Benoît Debie (“Spring Breakers”), which is known for its psychedelic-paralyzing image forces, driving his eccentric work here deliberately kept to a minimum and down with his camera always close to the figures. He puts a lot of detail work and use the rooms of his characters from optimal. Especially by the 3D creates additional time and again the impression of emptiness, what the tone of “Everything Will Be Fine” always emphasizes when Wenders again will quite simply concentrate on his characters. The recent Oscar-winning composer Alexandre Desplat (“Grand Hotel Budapest”) returns to a sumptuous score, which belongs to its mix of impetuous force and restrained minimalism to the best of his career.
Conclusion: Lange has not seen Hollywood star James Franco and his well-known colleagues so concentrated. For the European production “Everything Will Be Fine” director Wim Wenders creates a scenario that can be located either right or wrong as spectators. This consistent refusal of an emotional gray area, the audience is invited to think actively and rewarded with a film whose plot can be developed on their own attitudes and thus considered from all different angles. Encased in a technically outstanding appearance is “Everything Will Be Fine” not a film for the masses, but a gift for film buffs.
“Everything Will Be Fine” was from 02 April to see in selected cinemas in Germany – even in 3D
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