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Phoenix

  • 2014
  • 12
  • 1 Std. 38 Min.
IMDb-BEWERTUNG
7,3/10
21.414
IHRE BEWERTUNG
Nina Hoss in Phoenix (2014)
A disfigured concentration-camp survivor, unrecognizable after facial reconstruction surgery, searches ravaged postwar Berlin for the husband  who might have betrayed her to the Nazis.
trailer wiedergeben2:05
1 Video
84 Fotos
DramaHistoryMusicRomance

Ein entstellter Überlebender des Holocaust macht sich auf den Weg, um festzustellen, ob der Mann, den sie liebte, ihr Vertrauen missbraucht hat.Ein entstellter Überlebender des Holocaust macht sich auf den Weg, um festzustellen, ob der Mann, den sie liebte, ihr Vertrauen missbraucht hat.Ein entstellter Überlebender des Holocaust macht sich auf den Weg, um festzustellen, ob der Mann, den sie liebte, ihr Vertrauen missbraucht hat.

  • Regie
    • Christian Petzold
  • Drehbuch
    • Christian Petzold
    • Harun Farocki
    • Hubert Monteilhet
  • Hauptbesetzung
    • Nina Hoss
    • Ronald Zehrfeld
    • Nina Kunzendorf
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,3/10
    21.414
    IHRE BEWERTUNG
    • Regie
      • Christian Petzold
    • Drehbuch
      • Christian Petzold
      • Harun Farocki
      • Hubert Monteilhet
    • Hauptbesetzung
      • Nina Hoss
      • Ronald Zehrfeld
      • Nina Kunzendorf
    • 92Benutzerrezensionen
    • 282Kritische Rezensionen
    • 89Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 17 Gewinne & 30 Nominierungen insgesamt

    Videos1

    U.S. Trailer
    Trailer 2:05
    U.S. Trailer

    Fotos84

    Poster ansehen
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    + 78
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    Topbesetzung21

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    Nina Hoss
    Nina Hoss
    • Nelly Lenz
    Ronald Zehrfeld
    Ronald Zehrfeld
    • Johnny Lenz
    Nina Kunzendorf
    • Lene Winter
    Trystan Pütter
    Trystan Pütter
    • Soldat an der Brücke
    Michael Maertens
    Michael Maertens
    • Arzt
    Imogen Kogge
    • Elisabeth
    Felix Römer
    • Geiger
    Uwe Preuss
    Uwe Preuss
    • Clubbesitzer
    Valerie Neuenfels
    Valerie Neuenfels
    • Tänzerin
    • (as Valerie Koch)
    Eva Bay
    Eva Bay
    • Tänzerin
    Jeff Burrell
    Jeff Burrell
    • Soldat im Club
    Nikola Kastner
    Nikola Kastner
    • Junge Frau
    Max Hopp
    • Der Mann
    Megan Gay
    Megan Gay
    • Mitarbeiterin Zentralstelle Halensee
    Kirsten Block
    Kirsten Block
    • Wirtin
    Frank Seppeler
    • Alfred Mohnhaupt
    Daniela Holtz
    • Sigrid
    Kathrin Wehlisch
    • Monika
    • Regie
      • Christian Petzold
    • Drehbuch
      • Christian Petzold
      • Harun Farocki
      • Hubert Monteilhet
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen92

    7,321.4K
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    Empfohlene Bewertungen

    9reev0

    Difficult premise, bravura execution

    This could have been a disaster. The premise (which I will not spoil, but is easy to find) takes some swallowing, but director Petzold and star Hess get you over the initial bump to set up a situation of great tension. The difficulty then becomes resolving that satisfactorily - and when I saw Nina Hess introduce this movie at the London Film Festival, she said that initially they weren't sure how to end it - but they pull off an absolutely bravura climax to the tale, an unforgettable scene, cinema at its finest.

    Hess is brilliant in the central role, a really difficult part that she makes absolutely convincing. The other star here is the cinematography. There are other fine moments too - a really creepy scene early on full of women with bandaged faces - that help set the atmosphere. But the real thrill is to see a story told with such conviction and concluded with such panache.
    8rooprect

    Film noir meets "Face/Off" ...and the result is incredible

    The story is deliberately preposterous. In fact, it *must* be preposterous in order for the metaphor to work. A disfigured concentration camp survivor "Nelly" undergoes facial reconstruction which makes her so unrecognizable that her own husband doesn't recognize her; instead he insists that his wife is dead. But he wants to use Nelly as an imposter so he can collect her inheritance.

    If this brings to mind the idea of Nicolas Cage and John Travolta swapping faces in the awesomely bad "Face/Off", then you're not far off the mark. But listen up, here's why it works perfectly.

    The theme of "Phoenix" involves how people face an unacceptable past. There are 3 main characters who each personify a particular, extreme response. It has to be extreme, it has to be preposterous, and most importantly we have to accept it. Either that or just walk out of the theater after 5 minutes and watch Monday night football instead. Our 3 characers are: 1) Nelly - she cannot let go of her traumatic past, and at the same time she has no past because she has no identity, figuratively and literally. 2) The husband "Johnny" - he utterly rejects the past, for reasons you'll figure out soon enough, and so he refuses to recognize his wife. In fact, we get the feeling that even if she were the spitting image of herself, he would still refuse truth. Such is the nature of psychological denial. And 3) We have Nelly's only friend "Lena" who has become a tireless political activist, saving survivors and trying to keep the past "alive" even though she is confronted with a society that has already moved on.

    So you see how this story isn't supposed to be taken as a literal drama but rather as a very creative metaphor to illustrate how psychology works in 3 vastly different personality types. Further driving the surreal nature home, we have gorgeously shot, vividly composed visuals. If you ever wondered how Film Noir would look in color, then look no further. There have been a few contemporary classics which sought to bring Film Noir into the modern age, such as 2005's "Sin City" with its introduction of red to the crisp b&w palette, or before that was 1994's "The Crow" with its use of extreme darkness and "dead" colors. Here in 2014's is the next decade's evolution. In this case there is bold use of colors, but they are distinctly and "impossibly" presented: a dark alley is illuminated with a ghostly red light even though there are no red light sources to be seen, or a dark scene of bombed out ruins has unrealistic islands of light illuminating patches of rubble, all in vivid color but with stark contrast against the black spaces. The cinematography and lighting is as purposely unrealistic as the plot.

    Ultimately if you grasp all of this, or if you just decide to go along with it for the sake of seeing how everything turns out, your suspension of disbelief will be amply rewarded. As nearly every other reviewer has noted, the ending is fantastic. Beyond fantastic, it's the whole point of the movie. In an interview, director Christian Petzold says the entire story comes down to the last 3 minutes, and that's where it will either come together or utterly fall apart. For my money, it's a total winner. "Phoenix" definitely does NOT crash & burn.
    7arichmondfwc

    Different Ashes

    Hubert Monteilhet's novel has been filmed three times I saw two of them. The 1960's Return From The Ashes and this one, Phoenix (2014) - the one I haven't seen is a TV version from the 1980's Le retour d'Elisabeth Wolff, but now I really want to see it. Phoenix is a moody, painful journey to a rebirth. Nina Hoss is lovely as the survivor, Ronald Zehofeld plays the husband, object of her obsession. He's an interesting actor, a mix between Benicio del Toro and the young Orson Welles. Their scenes together have a realistic, tangible suspense. But Christian Petzold, the director of Jerichow (2008), gives the whole film a severe pace and tone, the 1964 version has a sharp, sophisticated script by Julius J Epstein with titles like Casablanca to his credit and J Lee Thompson at the helm, Thompson directed films like The Guns Of Navarone, Cape Fear and What A Way To Go. So his version, Return From The Ashes, is a whole other experience, at time it's even funny. With a superlative international cast cast, Maximilian Schell, Ingrid Thulin and Samantha Eggar - So one can see both films as it they weren't even related.
    9paul-allaer

    Another masterpiece from director Christian Petzhold

    "Phoenix" (2014 release from Germany; 98 min.) brings the story of Nelly (played by Nona Hoss). As the movie opens, we see a badly injured Nelly being driven to the hospital for facial reconstruction. Upon entering Berlin's American Zone, the US guard forces Nelly to remove the bandage, which she does, to the belated horror of the guard. After the facial reconstruction (or "re-creation" as her friend Lene calls it), Nelly only has a fleeting resemblance of her old self. Eventually Nelly goes looking for her husband Johnny. When she locates him, he does not recognize her, but instead he asks her to pretend to be Nelly, so as to be able to claim Nelly's family inheritance. At this time we are 15 min, into the movie, but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

    Couple of comments: this is the latest movie from German director Christian Petzhold, who previously has brought masterpieces like Barbara, Yerichow, Yella (all of which also star Noina Hoss), The State I Am In, and Gespenster. Petzhold is in my opinion one of Europe's most important and best directors, period. "Phoenix" touches many aspects: there is the immediate aftermath of WWII, and the enormous scars (physical, mental, and other) incurred by the Jewish people who managed to somehow survive; then there is the psychological mind games played by both Johnny and Nelly (did Johnny betray Nelly during the war? is Nelly betraying Johnny now?). It all plays out brilliantly. Check out the movie's final scene (no worries, I won't spoil), which stunned me and everyone else in the theater. Nina Hoss, in her 4th collaboration with Petzhold, brings another daring and touching performance as the shattered and brittle Nelly. Wow, just wow.

    Even though this movie is a year old, it just now found its way to my local art-house theater here in Cincinnati. Better later than never, I suppose. I couldn't wait to see "Phoenix". The matinée screening where I saw this at this weekend was PACKED, somewhat to my surprise and delight. If you like a top-notch quality foreign movie that will stay with you long after you've seen it, you cannot go wrong with this, be it at the theater, on Amazon Instant Video, or eventually on DVD/Blu-ray. "Phoenix" is HIGHLY RECOMMENDED!
    9Luddify

    One of the greatest film endings. Ever.

    You do have to suspend a bit of disbelief to get there on the haunting journey, but the movie's final scene will stay with you forever. Amazing performances by the two leads and assured, understated directing that only intensifies the climax.

    Absolutely not to be missed, even (or particularly) if you think you've seen every possible treatment of the toll of the Holocaust on individual lives.

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    Handlung

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    • Wissenswertes
      The woman on the magazine cover that Nelly liked to emulate was Hedy Lamarr.
    • Patzer
      The actor playing the US Army Sergeant sentry at the checkpoint is clearly German: while he speaks English well, his German accent still comes through.
    • Zitate

      [first lines]

      Lene Winter: [arriving at the border]

      Soldat an der Brücke: Passport... Nice car. Where did you get it from?

      Lene Winter: It's from Switzerland.

      Soldat an der Brücke: Just like you?

      Lene Winter: Like me.

      Soldat an der Brücke: [whistles to the gate] They're from Switzerland. The girl too.

      [to her passenger]

      Soldat an der Brücke: I want to see your face.

      Lene Winter: Can I talk to you?

      [gets out]

      Lene Winter: Come on, she's not Eva Braun.

      Soldat an der Brücke: Of course not. The bitch got killed by her husband.

      Lene Winter: She's from the camps.

    • Verbindungen
      Featured in Love/Work/Cinema: A Conversation with Christian Petzold and Nina Hoss (2016)
    • Soundtracks
      Speak Low
      Music by Kurt Weill

      Lyrics by Ogden Nash

      Performed by Nina Hoss and heard as a theme over the credits

    Top-Auswahl

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    FAQ19

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    Details

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    • Erscheinungsdatum
      • 25. September 2014 (Deutschland)
    • Herkunftsländer
      • Deutschland
      • Polen
    • Offizielle Standorte
      • Official site
      • Official site (Japan)
    • Sprachen
      • Deutsch
      • Englisch
    • Auch bekannt als
      • Фенікс
    • Drehorte
      • Legnica, Dolnoslaskie, Polen(Berlin in 1945)
    • Produktionsfirmen
      • Schramm Film Koerner & Weber
      • Bayerischer Rundfunk (BR)
      • Westdeutscher Rundfunk (WDR)
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 3.184.472 $
    • Eröffnungswochenende in den USA und in Kanada
      • 30.296 $
      • 26. Juli 2015
    • Weltweiter Bruttoertrag
      • 5.855.623 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 38 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 2.39 : 1

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