“Toni Erdmann” in Cannes – Back to Nature – Frankfurter Rundschau

May 16, 2016

Sandra Hüller as Ines in “Toni Erdmann”, left the hairy giant beings. Photo: dpa

Who would have thought? In Cannes there is a German favorite: Rare Art was as entertaining as “Toni Erdmann”, the amazing, mysterious and already equipped with a record comedy by Maren Ade

the first record has Maren Ade’s “Toni Erdmann” already: In the daily appearing critic rating renowned trade magazine “Screen”, a movie has never been so highly rated. 3.8 of a maximum of 4.0 points, which is unheard of in the history of this Meinungsbarometer, so far resulted in the all-time vote “Mr. Turner “by Mike Leigh. Even if not received the Palme d’Or two years ago, one can say one thing:. If the German director does not win next Saturday, the jury at the award ceremony must adjust to the displeasure of critics

It has probably never seen such a good movie with a so ugly image started as “Toni Erdmann”. Since ringing a DHL courier to an obscure entrance, the hand-held camera shakes a little, then it shall be opened. Dimly shows the role played by Peter Simonischek residents, while the cool-bright white house wall reminds that video never film can be.

Here’s one of those stories begin in the afternoon television, where warned against tricksters or Messie apartment is unmasked. That is from this setting and great cinema from “Toni Erdmann” the most original and most celebrated German Cannes entry for two decades, is the secret of Maren Ade. To solve it, is not easy, but you have to try it.

The residents are surprised and asks the messenger to be patient, as the intended recipient was probably his brother. Shortly thereafter, he returns with wig and false teeth. Already Ade has let the cat out of the bag, made us familiar with the tease-dual existence of retired music teacher Winfried Conradi.

There is no transformation of Dr. Jekyill to Mr. Hyde, because even without the protection of the masquerade takes the Alt-68er not mince words. His daughter, a successful manager in a consulting company that rarely logs on, he says that’s already so fine. He had now committed a daughter actress. The flap just fine. Of course this is just a joke, as every third set of Winfried Conradi. And yet, played by Sandra Hüller Ines stuck weary smile soon in the throat.

director Maren Ade with the hairy giant creatures during a photo shoot in Cannes. Photo: AFP

For an international company operating in Bucharest, it is a company making strategies for collective redundancies tasty. Shortly before the decisive presentation of Father equips her a surprise visit. Reluctantly, she takes him to a message reception and a business where the pitfalls are close to each other. Actually, however, it is less the jokes of the father as their own insecurities that threaten their “performance”. Apparently had father and daughter once a lot in common, inclinations and utopias. She locked them in the closet, it they are alive as ever.

Ordinary Generation dramas would leave them now carefully and discuss more or less tearful, but Maren Ade has something else with her film. When he passed his father the next day, the daughter falls a stone from the heart. But then a denture wearer with dark curly wig appear the next night, we had expected and yet surprisingly scream, among the extras: Allow, Toni Erdmann

This is only an outline of the first forty-five minutes. the 162-minute film. She already was enough to capture an entire room in Cannes. But then only the real miracle happens. In an unprecedented blend of semi documentary precision and unbridled farce, succeeds a long-buried freedom in staging, like we have probably not seen in the movies since Toni Erdmann youth. In this moral comedy that auteur cinema is literally resurrected. . Only cinema was long gone so entertaining – and touching

If the father accidentally motivated by a joke the dismissal of two oil workers, acts like a reverse “Chaplin”: The Tramp, the fault causes suffering, is caught in his own naivete. In another scene, he brings her to at a party a devastating-grandiose Whitney Houston cover darzubieten – a moment that resulted in spontaneous applause in the cinema in Cannes. However, anyone who believes Sandra Hüller was thus already grown beyond itself, has no idea what incredible power it on part in the masterful ensemble scene of a nude party. The surprising appearance of a hairy giant creature throws the movie began so inconspicuously to a visually stunning triumph.

Sandra Hüller with Peter Simonischek. Photo: dpa

In Hollywood would celebrate this Actor pair instantly as Oscar contenders. But Hollywood we are fortunately light years away. Rather join a Marco Ferreri’s satirical classic “The great feast” and “Bye Bye Monkey” from the seventies to mind, but “Toni Erdmann” is even better. Maren Ade has German cinema returned to where ever his greatest strengths lay -. To the intersection of romance and reality

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One of the few German words which is understood internationally, is “Double”. Maren Ade’s “Toni Erdmann” has this beautiful motif of German silent film once abschaute from Romantic literature, saved the present. How many faces demands the globalized world of ours? Anyone can get in its history will find.

Who would have thought? In the middle of the festival Cannes has already found his favorite in a German Comedy

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