When <"teKino" / span class => is a constant in the cinema, it’s the vampire movie. The always running. The vampire is virtually the founding father of the cinema. Of course, there are waves. The early eighties were a bit anemic that noughties particularly snappy, 2015, something drags then, but now comes David Rühm “therapy for a vampire” to the cinema. Ruehm enrolled recently without umlaut, perhaps to be artistic themselves from his father (the author Gerhard Ruhm), but of course that’s no good, because in Vienna anyway everyone knows.
This David Rühm or Ruehm is actually a photographer and advertising films, but makes in between feature films. Not just with great success. One might even say that movies like “The Fugitive” or “El Chicko – Suspicion” are completely gone down. Do not worry. “I can: stay tuned and persevere,” says Rühm, “that’s my nature friends have asked me again and again. ‘What keeps you in the film Why do you write substances that nobody wants at the time?’ I hold on, even though I had a lot of setbacks. “
His new film is called” therapy for a vampire. ” Now. In Austria, where he started off in December, he was still called “The vampire on the couch.” Such changes are rarely a good sign. And indeed it is not enough to have a single good idea. This is in this case that comes-a-vampire-to-physician idea.
At first glance, it is quite nice. The doctor is in fact, we are in Vienna, it is the year 1932, Sigmund Freud. “I got lost the bite”, the new patient complains (Tobias Moretti) his famous psychiatrist (Karl Fischer), and does miss a few levitatorische faxes on the couch. Of this, however, Freud gets nothing. For him, the matter is clear: Depression. This may take.
Especially as these pale Graf Közsnöm even with a woman (Jeanette Hain) is married, who wants to have constantly told how beautiful she is , (Because they, like all vampires in the mirror can not see.) Narcissistic disorder diagnosed Freud. And says that the treatment will probably take longer, and that suggests with 300 shillings to Book a hour of his precious time.
This entrée is quite nice, then begin the laborious constructions. Doctor Freud apparently collaborates with an artist (Dominic Oley) who transforms the dreams of patients in pictures. In gratitude for these orders the painter has left his employer a painting by his girlfriend Lucy (Cornelia Ivancan), and in exactly this image of the Graf believes now recognize his prior “hundreds of years” lost Nadila.
Wow. Vampirism, artistry and psychoanalysis in a movie. That could be something. But unfortunately did not work out. Rühm citing Jacques Lacan postfreudianische theory that man perceive himself only as a personality when he recognized himself in the mirror, makes the lame thing even faster.
In the few gags – the steak please bloody and without garlic sauce! – If it is not just to novelty items, and the computer effects – the tear-like disappearance of the characters, their crumbling and its transformation into dark flying – are not exactly innovative. The most difficult but weighs that the film, which is, incidentally, is an Austrian-Swiss co-production, not at all gets going. Rarely has one seen a story so running in place.
No, this film is not Rühmesblatt. (Pardon.) The director should consider whether the perseverance in the cinema business really means everything.
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