#Winfried Conradi

[melangeknottings]

"Toni Erdmann" for Father's Day

Thinking of the wonderful actor Peter Simonischek today.

[byneddiedingo]

Sandra Hüller and Peter Simonischek in Toni Erdmann (Maren Ade, 2016) Cast: Sandra Hüller, Peter Simonischek, Michael Wittenborn, Thomas Loibl, Trystan Pütter, Ingrid Bisu, Lucy Russell, Hadewych Minis, Vlad Ivanov, Victoria Cocias. Screenplay: Maren Ade. Cinematography: Patrick Orth. The nearly three hours -- well, two hours, 42 minutes -- of Toni Erdmann don't exactly fly by. It's more that they sometimes pause while we accustom ourselves to the eccentricity of the characters and begin to absorb some of the satire, build up another head of steam, and speed into another head-spinning but frequently funny episode. There's a feeling of improv about the film, and with improv there are often dead spots between outbursts of brilliance. The film is about a father and daughter, Winfried (Peter Simonischek) and Ines Conradi (Sandra Hüller). He's a shaggy old prankster who teaches music in a school; she's an intensely driven corporate consultant now working to land a contract in Romania that would help companies streamline -- mostly by jettisoning their unionized work force. The film is thus a satire on global corporate capitalism, with side glances at the pervasive sexism in that world. But writer-director Maren Ade has chosen not to weight the film in the direction of either character study or satire, and I think the film suffers from tone problems occasionally. Granted, it would be easy to slip into formula with such mismatched characters, a father who delights in comic disguises like fright wigs and false teeth to shake up his uptight daughter's aggressively workaholic ways. It's to the credit of the film that there are enough unexpected moments -- such as Ines's singing "The Greatest Love of All" at a Romanian family's Easter celebration that Winfried has crashed -- that it never sinks to the routine and conventional. Finally, the film does, I think, go too far, when Ines suddenly decides to host a corporate party in the nude, insisting that all the guests strip too, and claims that it's a "team-building" exercise. Winfried, of course, crashes this party as well, wearing a Bulgarian kukeri costume -- it almost literally turns the film into a shaggy-dog story. Toni Erdmann was a big critical hit, and was a major contender for the foreign film Oscar that went, I think correctly, to Asghar Farhadi's The Salesman.

[agendaculturaldelima]

#ProyeccionDeVida

🎥 Cine Alemán Contemporáneo, presenta:

🎬 “TONI ERDMANN”

🔎 Género: Comedia / Drama / Familia / Trabajo

⌛️ Duración: 162 minutos

✍️ Guion: Maren Ade

📷 Fotografía: Patrick Orth

🗯 Argumento: Inès trabaja en una importante consultora alemana establecida en Bucarest. Su estresante vida está perfectamente organizada hasta que su extrovertido y bromista padre Winfried llega de improvisto y le pregunta ”¿eres feliz?”. Tras su incapacidad para responder, sufre un profundo cambio. Ese padre que a veces estorba y que la avergüenza un poco le va a ayudar a dar nuevamente sentido a su vida gracias a un personaje imaginario: el divertido Toni Erdmann.

👥 Reparto: Sandra Hüller (Ines Conradi), Peter Simonischek (Winfried, Toni Erdmann), Michael Wittenborn (Henneberg), Trystan Pütter (Tim), Ingrid Bisu (Anca), Lucy Russell (Steph), Hadewych Minis (Tatjana), Victoria Cociaș-Șerban (Flavia) y Vlad Ivanov (Illiescu).

📢 Dirección: Maren Ade

© Productoras: Komplizen Film, Coop 99, KNM & Missing Link Films

🌏 Países: Alemania-Austria

📅 Año: 2016

📽 Proyección:

📆 Miércoles 02 de Octubre

🕡 6:30pm.

🏡 Auditorio del Instituto Goethe (jr. Nazca 722 – Lima)

🚶‍♀️🚶‍♂️ Ingreso libre

👀 A tener en cuenta: Película con sub-títulos en español

[bierki-sztuki]

"Toni Erdmann"

“Toni Erdmann”

        Winfred jest rozwiedzionym, emerytowanym nauczycielem gry na pianinie, który uwielbia wygłupy i nieustannie robi kawały swoim sąsiadom na niemieckich przedmieściach. Jego córka Ines – pracująca za granicą konsultantka w wielkiej korporacji – lubi mieć wszystko pod kontrolą, równie mocno, jak jej ojciec lubi się zgrywać. Przez lata ich relacje nie układały się zbyt dobrze, więc kiedy…

[myfilmreviews-blog1]

Toni Erdmann

Maren Ade, 2016

A bittersweet comedy-drama, though not really a comedy at all, Toni Erdmann (Maren Ade, 2016) delivers blow after blow of utterly devastating, complete absurdity.

Following the death of his dog, Winfried Conradi (Peter Simonischek), a divorced piano teacher in Aachen, Germany, decides to reconnect with his estranged daughter, Ines (Sandra Hüller), a stern and hard working business consultant in Bucharest who has little interest in (or time for) friends and family.

With the prospect of rekindling this relationship organically, practical joker Winfried ambushes his daughter at work and for several days irritates Ines with light criticisms and jokes. After a tense stay and wounded by Ines’ hostility towards him, they agree that Winfried will return to Germany and he leaves for the airport. For Ines, work continues as normal for several days until in a rare social outing, she and two friends are surprised by life coach Toni Erdmann - Winfried’s alter-ego - who appears, armed with false teeth and a ridiculous wig.

Ines is humiliated and angered by “Erdmann” and his incessant interventions in her life, but plays along with the bizarre ruse. The pair share a series of uncomfortable experiences with one another, including a mortifying rendition of Whitney Houston’s “Greatest Love of All” by Ines at a Romanian family party, experiences which hint at a nostalgic tenderness shared between the two, long before Ines’ corporate sensibilities took over. As Winfried and Ines provoke and push each other further and further, the two are ultimately drawn closer than ever before.

Now her third feature, Maren Ade has mastered the intricacies of parental relationships, and presents a heartbreakingly fraught father-daughter bond, in a profoundly comedic way. In an interview with the director, Ade revealed that she “said to [her] producer, ‘I’m sorry, this will not be a comedy, this will be a very long and sad film’”, going on to add “But we were very happy that the comic aspect came out while editing.” At 162 minutes long, the film is skilfully paced and miraculously, not a second feels out of place.

There is no flashiness to the film. Shot and edited rather simplistically, Ade allows the scenes to play out to their fullest. On set, Ade is said to have pushed for between 20-30 takes of each scene, resulting in 120 hours of footage being shot over 56 shooting days, letting the scenes to run their course and highlight the (surprisingly, in the case of Erdmann’s character) nuanced performances of Simonischek and Hüller. Winfried and Ines are characters both lost in false identities, be it that of an eccentric life coach or simply a straight-laced corporate consultant, and it is evident that both performers threw themselves head first into these identities too.

Whilst dealing with the complexities of the characters and their relationships, the film also diligently works to depict Ines’ struggles in conforming to the male dominated, capitalist industry she works within. Some have argued the film acts against women who prioritise careers over femininity yet it feels much more as though she’s suggesting how damaging these corporations can be. Ines has fought for the position she holds, and is reluctant to admit it's flaws.

In conversation with a male colleague Ines is told “I know this may upset the feminist in you, but-” to which she replies, with a slight frown, “I’m not a feminist — if I were I wouldn’t be able to put up with someone like you”. Following this is an uncomfortable sex scene featuring petit fours, where Ines, for the first time, plays with the dynamic usually present in all aspects of her life. She both completely embodies and simultaneously lets her guard down, and it’s her first real Toni moment. Near the end of the film, Ines is free from her business suit and we can see the real progression of her character.

Ade allows the complexities of Toni Erdmann to breathe and the result is, though long, a perfectly executed, haunting and painfully funny film, guaranteed to have you in floods of tears and fits of laughter.

Sources used:

https://nyti.ms/2hu6K9q

[movieswithkevin27]

Toni Erdmann

Toni Erdmann is not a funny movie at all. It is cringe comedy for two hours and forty two minutes. This film is a major misfire that really flew right past me and made me wonder if everybody else was watching the same film I was. Immediately, I knew that this was a film that would likely not be my style once the character of Winfried Conradi / Toni Erdmann (Peter Simonischek) was introduced. With childish jokes left and right that are incomprehensible as jokes in the human realm, the film continuously shows his prank-influenced style of jokes in a nearly three hour long compilation of YouTube pranks. Going to Romania to try and make sure his daughter Ines (Sandra Huller) is enjoying life in the country, the film shows him try to get her cheer up and become less serious. While their relationship is nice, the film itself is really anything but for most of the runtime.

The jokes vary from being completely undetectable to being cringe-inducing when he ruins her business dealings in Romania to being just flat-out childish. Examples of each are when he tells the guy there is a bomb in a package, him creating the alter ego of Toni Erdmann who holds various titles and is all an inside joke where he pretends to be somebody else to creep on his daughter, or when he sits on a whoopy cushion. In essence, whoever conceived of the comedy in the film likely just finished watching an Adam Sandler movie and Billy Wilder's Some Like It Hot. Considering I did not like the latter and Sandler movies are universally trash, there is no way Toni Erdmann was going to be a film I was going to enjoy with this style of comedy and awkward humor at its core. There was honestly not really a moment where I chuckled or came near smiling, except in sarcasm when I got progressively more-and-more aggravated that I was wasting nearly three hours of my life watching this schlock.

However, fortunately, its drama is very good at times. I still hate the father character who is one-note and has no idea how to relate to his daughter beyond making childish daughters. Meanwhile, his daughter is a serious businesswoman. Sure, I do not understand having that much passion for your career, but she does. Why is she the bad guy who just will not let her grating father into her life? He sucks. I would cut him off too. What is worse is when his influence begins to rub off on her with the cringe-inducing naked party to build team chemistry. A last second decision to cover up her own error, the party is a failure and an intensely awkward at that. However, Toni Erdmann really saves itself in the final act with a raw and emotion-filled scene between Winfried and Ines where they discuss happiness and life. The two have finally come together again and no longer have that great distance between them, which is a nice thing to see. I just wish that Winfried was not eye gougingly annoying, which is he is not in his best moments such as at the egg painting party. Raw and open about who he is and how he wishes his daughter could lighten up, the audience can really root for the guy in this moment. Unfortunately, it is immediately followed up with him showing up to the naked party in a huge mascot outfit, which is a major turn off and plays too heavily on absurdist and awkward humor, considering his daughter is naked right in front of him.

However, the strong dramatic leanings of the film are undone with a gratuitous runtime that never really justifies itself. The film floats by for nearly three hours and I could never really figure out why it had done so. This is a film where I wish some American studio got their hands on it and cut it down from 162 minutes to 90 minutes. It never needed to be that long and needed to go under the knife for some serious liposuction. As it stands, it is a tall task to watch with practically no enjoyment in store whatsoever. It is not funny. Its drama borders on annoying until the final act. Its characters are all one-dimensional with Winfried being nothing but a goof ball who loved his dog and daughter, while Ines is just a stuck up bitch of a businesswoman (a character trait that is becoming far too common nowadays, as if there is no middle ground between a woman who is passionate about her career and one who is just a callous bitch who cuts jobs without blinking). Thus, even its character study inclinations fall flat and really reveal very little about the nature of the characters as individuals, only in the context of how they behave with one another.

Fortunately, it is this father-daughter relationship and both of their attempts to try and mend that broken link. However, the film is so unrelentingly unfunny, crude, and poorly written, its emotional core is nearly entirely blotted out. Had this film been a tight 90 minutes or a little more, it would have been far more enjoyable, as a lot of the fluff and annoying bits would have been cut out. Unfortunately, it is 162 minutes long and never seems likely to end.

[onlinevideoproduction]

German Film : Toni Erdmann

From September 2019, once a month on a Thursday, the Institut français d'Ecosse will proudly be hosting screenings of German films in partnership with the Goethe Institut in Glasgow. The film this week is Toni Erdmann by Maren Ade.

Synopsis: Despite all his activities, Winfried Conradi, a retired music teacher, suffers from loneliness. His daughter, who's pursuing a career abroad as a management consultant, is of particular discomfort to him. When Winfried's dog dies, he travels spontaneously to Bucharest to see Ines. Her father's arrival, however, does little to please her: he immediately interferes in her life and work, embarrasses her with ridiculous disguises, and, if necessary, acts as a rude impostor. The moving aspect of this quirky father-daughter tragicomedy? Both parties' behaviour remains transparent at all times. The reconciliatory aspect? The conflict brings the two together.

Starring Sandra Hüller, Peter Simonischek, Michael Wittenborn

In partnership with

Toni Erdmann (dir. Maren Ade| 2016 | 2h42min) Thursday, 14 November | 6:45pm Salle Emilienne Moreau-Evrard In German with English subtitles ADMISSION FREE

Institut français d'Ecosse Salle Emilienne Moreau-Evrard West Parliament Square Edinburgh EH1 1RF

Access Details The Institut français d'Ecosse and the Salle Emilienne Moreau-Evrard are fully accessible with step-free access available at West Parliament Square and George IV Bridge.

Booking This event is free for members, but booking is strongly recommended. Book directly online or contact us at 0131 285 6030 or ifecosse.edimbourg-cslt @diplomatie.gouv.fr

from Institut Français Écosse http://www.ifecosse.org.uk/German-Film-Toni-Erdmann.html via IFTTT

[tesaonews]

Lançamentos para assistir online (18/01 a 24/01)

Para a lista de lançamentos online desta semana, escolhemos alguns filmes brasileiros, como Legalize Já!, O Colar de Coralina e O Nome da Morte, além da animação Mune, O Guardião da Lua e os lançamentos da Netflix IO e Fyre Festival. Também selecionamos os filmes Distúrbio, Toni Erdmann, Nostalgia e Pulling Strings.

Os títulos abaixo podem ser assistidos em plataformas de streaming e VoD (Video on Demand), confira um pouco sobre cada um deles:

Legalize Já! (2017)

O filme, que conta a história da banda Planet Hemp, tem como personagem principal Skunk, um jovem músico revoltado com a opressão e preconceitos sofridos diariamente que decide expor toda a sua indignação através da música. Ao conhecer Marcelo, um vendedor de camisetas de banda, eles se juntam pelo gosto musical parecido e formam o grupo.

O elenco do filme é composto por Renato Góes como Marcelo D2, Rafaela Mandelli como Suzana, Ícaro Silva como Skunk, Stepan Nercessian como o pai de Marcelo, Shirley Cruz como Marlí, entre outros.

Imagem: Divulgação

Legalize Já! está disponível no Looke.

O Colar de Coralina (2016)

Aninha, uma criança considerada feia e frágil, é bastante oprimida por todos ao seu redor. Sua fuga está no jogo da amarelinha, quando ela encontra uma forma para superar os seus próprios limites.

Fazem parte do elenco Letícia Sabatella como Jacintha, Rebeca Vasconcellos como Aninha, Maria Coeli como Cora Coralina e Nadja Dulci como Tia Nhorita.

Imagem: Divulgação

Você pode assistir O Colar de Coralina no Google Play e iTunes.

IO (2019)

IO acontece em uma Terra pós-apocalíptica e na vida de Sam, uma adolescente que é uma das últimas pessoas que sobraram no planeta, que está sendo evacuado. Agora, ela precisa se juntar ao restante dos sobreviventes para fugir ou escolher permanecer na Terra.

Estão no elenco Margaret Qualley como Sam Walden, Anthony Mackie como Micah, Danny Huston como Henry, entre outros.

Imagem: Divulgação

IO é um filme da Netflix.

Fyre Festival – Fiasco no Caribe

O documentário Fyre Festival, dirigido por Chris Smith, conta a história de um festival luxuoso nas Bahamas que nunca aconteceu. Pessoas chegaram a gastar até 100 mil dólares em ingressos com promessas de acomodações de luxo, apresentações de grandes artistas e experiências gastronômicas. Mas, ao chegar lá, eles descobriram que estavam presos em uma ilha deserta e com mudanças climáticas perigosas.

Imagem: Divulgação

O documentário está disponível na Netflix.

Distúrbio (2018)

No filme Distúrbio, Sawyer Valentini está sendo perseguida por um stalker na internet. Mas ao tentar recorrer à justiça para pedir ajuda, acaba sendo internada em uma instituição mental e acaba sendo confrontada pelo seu maior medo.

Fazem parte do elenco do filme Claire Foy como Sawyer Valentini, Joshua Leonard como George Shaw, Amy Irving como Angela Valentini, Jay Pharoah como Nate Hoffman, entre outros.

Imagem: Divulgação

Distúrbio chegou no iTunes, Microsoft Store e Google Play.

Toni Erdmann (2016)

Em Toni Erdmann, Winfried é um senhor que sempre leva a vida no bom humor e adora fazer as pessoas se divertirem. Porém, seu jeito extrovertido acabou fazendo com que sua filha se afastasse. Depois de várias tentativas de reconciliação, ele acaba voltando com seu alter-ego Toni Erdmann.

O elenco da trama conta com Sandra Hüller como Ines Conradi, Peter Simonischek como Toni, Ingrid Bisu como Anca, Thomas Loibl como Gerald, Lucy Russel como Steph, entre outros.

Imagem: Divulgação

Toni Erdmann pode ser assistido no Claro Video, Google Play, PlayStation Store e iTunes.

O Nome da Morte (2017)

Júlio Santana é um homem querido por todos ao seu redor e o orgulho da família. Porém, ele esconde uma identidade extremamente perigosa: um assassino profissional que já matou 492 pessoas.

O elenco do filme é composto por Marco Pigossi como Julio Santana, Fabíula Nascimento como Maria, André Mattos como Cícero, Tony Tornado como Genézio, entre outros.

Imagem: Divulgação

O Nome da Morte pode ser assistido no Looke, iTunes e TeleCine Play.

Mune, O Guardião da Lua (2014)

Na animação Mune, O Guardião da Lua, um ser mágico tem a missão de cuidar das estrelas. No entanto, uma série de desastres acaba resultando em um problema terrível: o roubo do Sol.

Imagem: Divulgação

Mune, O Guardião da Lua chegou no TeleCine Play, PlayStation Store, Looke e Google Play.

Nostalgia (2018)

Um grupo de pessoas conectadas por uma perda em comum acabam encontrando amor e consolo em memórias e objetos compartilhados.

O elenco de Nostalgia conta com Jon Hamm como Will Beam, Annalise Basso como Tallie Beam, John Ortiz como Daniel, Bruce Dern como Ronald, Ellen Burstyn como Helen, entre outros.

Imagem: Divulgação

O filme está disponível no Google Play, iTunes e Claro Video.

Pulling Strings (2013)

Pulling Strings conta a história de Alejandro, um cantor mexicano que tenta obter uma permissão para morar nos Estados Unidos para poder ficar ao lado de sua filha, mas acaba com o pedido sendo negado pela agente Rachel.

No entanto, tudo muda quando ele encontra a agente bêbada em uma festa e consegue provar que é confiável e digno de ter o visto americano.

Fazem parte do elenco Jaime Camil como Alejandro, Laura Remsey como Rachel, Omar Chaparro como Canicas, Stockard Channing como Virginia, Tom Arnold como Art, entre outros.

Imagem: Divulgação

Você pode assistir Pulling Strings no Google Play.

Leia aqui a matéria original

O post Lançamentos para assistir online (18/01 a 24/01) apareceu primeiro em Tesão News.

source https://tesaonews.com.br/noticia-tesao/lancamentos-para-assistir-online-18-01-a-24-01/

[spryfilm]

“Toni Erdmann” (2016)

Comedy/Drama/Foreign

Running Time: 162 minutes

Written & Directed by: Maren Ade

Featuring: Sandra Hüller, Peter Simonischek, Michael Wittenborn

Germany and comedy may not be two words that are synonymous with each other but after “Toni Erdmann” (2016) this might change – for the better. The viewer should be prepared for the almost three hour running time – but fear not the film moves along at a good pace, there never feels like any short changing much like any good drama. The film is at once epic but at the same time deeply personal in a way rarely seen in today’s movie world.

The film revolves around Winfried Conradi, a divorced music teacher, an old-age hippie of sorts, with a passion for bizarre pranks involving several fake personas. Over the bereavement of his dog, he decides to reconnect with his daughter Ines, who is pursuing a career in business consulting and is currently posted in Bucharest, Romania, where she works on an outsourcing project in the oil industry.

The story is pretty crazy and I wont spoil it but it this film has to be seen to be believed – it is a great tale that will have you chuckling well after the movie is over. It is not to say there are no dramatic moments – any film dealing with estrangement is inherently going to be dramatic but the levity is a welcome diversion.

There is tragic realism within the film as well from not only both characters but their surroundings as well especially in the final third of the film. The director, Maren Ade,  frames the actors in honest and satisfying ways – we are invited into this new world, both emotionally and physically.

With most successful comedies there are elements of drama and at the core of all the fun is the relationship that exists or doesn’t exist between Winfried and his daughter, Ines. This is a great way to build a film using the tension of Toni’s odd mannerisms and sense of humor. This film did remind me in a way of the James L. Brooks film “As good as it gets” (1997), which put the main characters OCD as a way for him to explore a possibly difficult new relationship. No surprise then that Jack Nicholson has expressed interest in remaking this film featuring himself in the main role.

This film operates on both a micro and a macro level – it has something to say about the awkward ways in which we lead our lives, the masks that we put on to deal with happiness, success, failure and defeats. This is what makes the film so great – yes its German but it uncovers universal truths that all the best films do so well. There is also a comment to be found about the state of Europe and in doing so comments on our Global situation where borders are both being erected in parts and removed in others. This is a challenging film but for all the good reasons.

This was nominated at this years Oscars for the best Foreign Film Academy Award and to be honest it probably should have won, but lost to “The Salesman” (2016) as Asghar Farhadi was unable to attend the ceremony so many people voted his way. It is a unique film that focuses on humor and not conflict to solve problems – something we could all learn from in this very divisive time. Highly recommended.

“Toni Erdmann” is available now in DVD, it is worth the viewing as well as the purchase.

DVD review: “Toni Erdmann” (2016) “Toni Erdmann" (2016) Comedy/Drama/Foreign Running Time: 162 minutes Written & Directed by: Maren Ade Featuring: Sandra Hüller, Peter Simonischek, Michael Wittenborn…

[sabienes]

Neu auf Sabienes TraumWelten

Toni Erdmann - Der erstaunlichste Film des Jahres 2017

Toni Erdmann – Ein Film mit Sandra Hüller und Peter Simonischek Winfried Conradi (Peter Simonischek) ist witzig, voller skuriler Ideen und manchmal nervig. Aber hauptsächlich ist der pensionierte Musiklehrer einsam und sucht die Nähe zu seiner Tochter Ines (Sandra Hüller). Doch diese ist...

... mehr auf https://www.sabienes.de/toni-erdmann/

[thepeoplesmovies]

Bluray Review - Toni Erdmann (2016)

Bluray Review – Toni Erdmann (2016)

How could they make such a good film out of “Toni Erdmann“? The premise seems worn-out: Winfried Conradi (Peter Simonischek), a retired music teacher, assumes the fake identity of Toni Erdmann by putting on grotesque fake teeth whenever he feels like horsing around with people, which is quite often. He comes to visit his daughter Ines (Sandra Hüller), a tough businesswoman who lives in Bucharest…

[captainhatmedien-blog]

TONI ERDMANN - eine unendliche und unsägliche Erfolgsgeschichte

Mit dem Erfolg des Films löst sich die Wahrnehmung der Lobhudler immer mehr vom tatsächlichen Inhalt.

Hier als Beispiel die Inhaltsangabe anlässlich der Verleihung des Lux-Preises am 22.05.17

„Winfried Lau ist 65 Jahre alt, Musiklehrer und für jeden Spaß zu haben. Als allerdings sein treuer Hund stirbt, entschließt er sich zu einer spontanen Reise nach Rumänien. Dort will er seine Tochter Ines mit seinem Auftauchen überraschen. Ines ist allerdings eine schwer beschäftigte Karrierefrau, die sich in Bukarest als Unternehmensberaterin einen Namen machen will und folglich einen Störfaktor wie Winfried gar nicht gebrauchen kann.

Ines' Ablehnung stachelt Winfried jedoch nur noch mehr an: Der lebenslustige Mann will sicherstellen, dass seine ehrgeizige Tochter das Lachen nicht verlernt hat und so ersinnt er ein schillerndes Alter Ego namens Toni Erdmann, das seine Tochter aus der Reserve locken soll…“

Nicht einmal der Name der fiktiven männlichen Hauptfigur wird korrekt wiedergegeben. Er ist nicht „Winfried Lau“, sondern „Winfried Conradi“. „Lau“ wäre als sprechender Name sicherlich für diese Figur nicht ungeeignet, um die Qualität ihres Humors zu illustrieren, aber das Drehbuch hat anders entschieden.

Dass dieser Winfried 65 Jahre alt ist, lässt sich höchstens vermuten. Er kann auch erst 64 oder 67 sein. Wichtig ist: Er ist pensioniert, arbeitet aber immer noch nebenbei ein wenig an der Schule und gibt privat Musikunterricht. Allerdings hat er nur einen Schüler, der (als zweite Voraussetzung für Winfrieds Reisemöglichkeit) das Interesse am Klavier verliert.

Diesen zwanghaft und hilflos witzig sein müssenden Menschen mit „für jeden Spaß zu haben“ zu charakterisieren, irritiert mich. Sein dürftiges Spaßrepertoire wird uns bereits zu Beginn des Films erschöpfend präsentiert. Gemeinsam ist diesen Späßen (mit „practical jokes“ im Englischen zutreffend vom intellektuellen Witz abgegrenzt) , dass er sie ohne Not und Zweck einsetzt, weil ihm gerade danach zu sein scheint, seine Mitmenschen zu irritieren oder zu erschrecken.

Was einen alten Hund, der nur noch apathisch herumliegen kann, zu einem „treuen“ macht, ist mir ein Rätsel. Zudem ist das nicht der Auslöser für die Reise nach Bukarest, sondern nur eine von mehreren Voraussetzungen, welche Winfried Conradi die Freiheit zu dieser Reise gibt.

Wenn er seine Tochter „überraschen“ wollte, hätte er sein Auftauchen in Bukarest nicht einige Tage vorher ihr ankündigen dürfen. Überraschend ist das tatsächliche Erscheinen für Ines nur, weil sie die nicht ernst gemeinte Aussage ihres Vaters auch nicht ernst genommen hat.

Nein, Ines will sich gerade nicht in Bukarest einen Namen als Unternehmensberaterin machen. Sie will aus der unternehmensberaterischen Provinz in die Weltstadt Shanghai wechseln, um dort Karriere zu machen.

Ines lehnt ihren Vater in Bukarest keineswegs ab. Er steht zwangsläufig nicht in ihrem Terminplan. Doch statt ihn, wie er’s verdient hätte, in einem Hotelzimmer einzusperren, versucht sie ihn in ihre geplanten Aktivitäten einzubeziehen und lässt ihn sogar in ihrem Gästezimmer nächtigen. Man könnte sich durchaus ihre Tochter besuchende Väter vorstellen, die das zu schätzen gewusst hätten und nicht zu einem Störfaktor geworden wären. Väter, die etwas über das Leben ihrer Tochter erfahren und die Stadt, in der sie seit über einem Jahr lebt und arbeitet, unter touristischem Aspekt oberflächlich kennenlernen, ihr Geburtstagsgeschenk brav überreichen und nach drei Tagen den Rückflug antreten. Winfried ist aber in jeder der Situationen, in die er gerät, einfach nur peinlich. Das ist er aber nicht absichtlich, sondern aus Mangel an Alternativen.

Winfried Conradi ein lebenslustiger Mann? Worin äußert sich das im Film? Mir ist trotz intensiver Analyse keine einzige Szene aufgefallen. Der Hauptvorwurf seiner Tochter lautet, dass er nichts mehr im Leben wolle.

Womit will er etwas angeblich „sicherstellen“? Und wie kann man überhaupt „sicherstellen“, dass die Tochter das Lachen nicht verlernt hat“? Papa könnte höchstens versuchen, sich davon zu überzeugen, indem er ihr Anlässe zum Lachen gibt. Dazu ist er aber viel zu tölpelhaft.

Was der Papa „will“, sagt er selbst: Mal schauen, was seine Tochter in Bukarest so macht und wie sie so lebt. Also ganz normale oberflächliche und lästige Neugier von Eltern, deren Kinder ihrem Erziehungszugriff entwachsen sind. (Die Mutter hat das immer noch nicht realisiert und hält die Tochter mit Vorliebe im Klammergriff.)

Wenn Winfried durch Ines’ angebliche Ablehnung „nur noch mehr angestachelt“ werden würde, hätte er vorher schon ein Verhalten zeigen müssen, das mit „angestachelt“  richtig beschrieben wäre. Das „Wozu“ wäre jedenfalls zu benennen: Wozu wird er angestachelt? Wenn man dem dahingestoppelten Text glaubt, will er sie „aus der Reserve locken“.  Kein Gedanke daran, was das konkret für die Tochter heißen könnte.

Natürlich muss auch in diesem Rezeptionszeugnis das „schillernde Alter Ego“ wieder bemüht werden. Für mich wird ewig unklar sein, was an der Figur Toni Erdmann, die Winfried Conradi doch sehr ähnlich ist, „schillernd“ sein soll. Ganz abstrus ist die Unterstellung, die eine Filmfigur habe die andere „ersonnen“. Der Film zeigt uns keine einzige Szene, in der Winfried Conradi irgendetwas „ersinnt“. Den Vornamen „Toni“ hat er sich schon  für seinen Scherz mit dem Paketboten einfallen lassen, wahrscheinlich weil in Aachen „de Toni“ leicht an „Detonieren“ erinnert. (Immerhin will er dem Boten suggerieren, er übergebe vielleicht eine Paketbombe.) Der Film zeigt, dass Conradi sich den Nachnamen Erdmann spontan ausdenkt. Ebenso wird deutlich, dass an der Lebende dieser Kunstfigur nichts Originelles ist, sondern alles aus Versatzstücken zusammengebastelt worden ist, die er aus seinem kurzen Bukarestbesuch entlehnt hat.

Für den Film erschwerend kommt hinzu, dass das plötzliche Auftauchen von „Toni Erdmann“ in Bezug auf Ort, Zeit und Outfit unglaubhaft sind, wenn man die im ersten Teil des Bukarestbesuchs glaubhaft gezeigte Tölpelhaftigkeit und Weltfremdheit Winfried Conradis als gegeben annimmt.

[rpsabetto]

Toni Erdmann

(Germany/Austria 2016)

Toni Erdmann is not a real person; he’s the alterego of retired divorced schoolteacher Winfried Conradi (Peter Simonischek). When Winfried, a weird old hippy jokester, appears onscreen in a shaggy wig and bad fake teeth, he certainly gives the impression that those around him have had to excuse his relatively harmless but tiresome—and often annoying—penchant for silliness.…

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Toni Erdmann

Sinopse: Quando o cão de Winfried Conradi (Peter Simonischek) morre, ele decide embarcar numa viagem de reatamento de relação com a sua filha, Ines (Sandra Hüller), que tenta subir na vida empresarial em Bucareste, na Roménia. Tudo parece falhar, mas eis que ele decide assumir o seu bizarro alter-ego, Toni Erdmann, simulando ser o “life coach” do presidente da empresa onde Ines trabalha.

Crítica: Aqui está o filme querido da crítica especializada, que tem feito capas de publicações, as delícias nos festivais dos quais tem feito parte e que arrecadou uma nomeação para Óscar de melhor filme estrangeiro. Talvez por esta última façanha, até já em Hollywood se prepara um “remake”, com Jack Nicholson a sair da reforma para pegar no papel de Conradi pai. Com um cartel de tal envergadura, a expectativa pô-lo num patamar do qual era difícil não sair. E a verdade é que acabou, quase inevitavelmente, por cair daí. Percebe-se que seja uma alegoria com laivos surrealistas para uma tentativa de recuperar um laço paternal deteriorado que, por muito que o progenitor o tente, jamais poderá voltar a ser o que antes foi. Não há aqui problema nenhum a nível técnico (embora Maren Ade, na sua terceira incursão nas longas metragens, não mostre nenhum rasgo particular), mas a curiosidade da estranheza que desperta a presença de Winfried enquanto performer humorístico (com adereços incluídos, diga-se), rapidamente se esgota e passa de peculiar a irritante. Simonischek e Hüller estão irrepreensivelmente bem dirigidos e parecem aguentar o filme quando o assunto já se esgotou há muito, com a última cena a ficar marcada e a fazer-nos despertar de uma indiferença a que nos vamos habituando ao longo do filme. A verdade é que o filme tenta tanto afastar-se do mainstream e despertar incómodo em tudo, que acabamos por quase não sentir empatia com nenhuma das personagens, nem com a forma como se relacionam. De resto, ao longo das exageradas 3 horas de filme, ficam imagens fortes e inauditas que nunca mais nos farão ver dentaduras postiças, perucas, karaoke e, sobretudo, cupcakes da mesma forma.

Veredicto: Toni Erdmann é daqueles filmes que acabam por se esforçar tanto por serem diferentes, que nos afastam dos seus protagonistas e da forma como se relacionam, quando deveríamos estar embrenhados aí mesmo.

Nota: 15 segundos por frame

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Toni Erdmann / Regie: Maren Ade. Darst.: Peter Simonischek ; Sandra Hüller ; Michael Wittenborn ; Thomas Loibl (...)

Was für ein #Film ! - "Toni Erdmann" #Filme #Vater #Tochter #Einsamkeit #Kapitalismus #ToniErdmann

Es gibt Filme, die so tief reichen, dass man einige Tage braucht, um ihre Nachwirkung in Worte fassen zu können. “Toni Erdmann”, der für den Oscar in der Kategorie “Bester fremdsprachiger Film” nominierte Film von Maren Ade, zählt zu diesen Filmen, die ihre Vielschichtigkeit erst in der Rückschau in Gänze entfalten. Winfried Conradi ist ein pensionierter, einst in den 1960er Jahren…

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TONI ERDMANN – Life, humour and a case for Europe

     I went in expecting a simple comedy of errors, based on a retired father showing up randomly at different places, just to cause annoyance to his daughter. At least that’s what the trailers tried to make it seem (value of a good trailer can’t be underscored enough, in this case it succeeded). But Toni Erdmann surprised me in many ways: organically and unassumingly.

     So the film starts with this one character, Winfried Conradi (played by actor Peter Simonischek) who chooses to call himself Toni Erdmann, it's like his alter ego of sorts. You see him playing these innocuous pranks on various people: eg. in the opening scene a courier delivery guy is subjected to his jests that the parcel he is delivering contains explosives that he was expecting. This sets the tone of these very simple seeming, yet exceedingly hilarious situations that Winfried creates/finds himself in.

     If Winfried’s character is this unserious, retired guy, who tries to find humour in everything he does, we also have the other end of the spectrum in his daughter, who is this high performing corporate professional. Burdened by life, the pressures of her work, being this perfect corporate animal (interestingly her boss compliments her after a presentation that she is such an animal); German actress Sandra Huller playing Ines Conradi. She is the perfect stereotype of an overachieving millennial, who flies between world capitals conducting business. She has an assistant who is constantly trying to serve her well, a boss who is borderline patronizing patriarchal, and a male colleague who is threatened when a woman is in-charge at work, yet likes to have sex with her whenever possible. But in watching Ines, we know that she is on the brink and that she will cave at the slightest nudge. Interestingly, when Winfried decides to randomly show up at her office or at a restaurant where she is meeting friends, he seems like the only one she can vent to/at.

     Reflection is not something Ines engages in and even when her father asks her life questions, there is this disdainful dismissal at the ignorance that parents are assumed to be suffering from. Winfried’s love for his daughter continues to tolerate multiple slights, and even when he is reminded that he is an embarrassment, his antidote to that is more humour.

     While the main storyline was intriguing, curiously humorous, I was totally taken by the sub-plot/sub-text of the film. Inis is working in Bucharest, as she navigates trying to bring German rules and business ethics to a relatively lax work culture. But while she does that, the film takes you through the urban and semi-urban landscape of a country that has been in the EU just over a decade. The drastic difference between the two notions of Europe: West vs. East, old vs. new are brilliantly snuck into the narrative. The uptight German professional and her rowdy father’s foray into neighborhoods, factory sites with accessible, yet stubborn Romanians, who don’t need to be told that their way doesn’t fit with forward looking globalization. These people are more than happy to invite you into their home and teach you how to paint an egg for Orthodox Easter, or take you into their humble dwelling and hand you the toilet paper kept on the side for guests, when you need to go.

     The film ends with Winfried’s continued attempts to woo his daughter to less stressful shores. Filmmaker Maren Ade leaves little room for interpretation as Winfried responds to his daughter’s question, asked earlier on in the film, of what makes him want to live, what makes him happy. He summarizes that life passes by too quickly and rather too mercilessly, when spent playing catch up with activities of a material ridden life, chasing frivolous things. It’s the small things, says Erdmann, that mean something and stay with you, when you want to lean back into the past and try to relive it.  

image source: filmcomment.com