Rendez-vous à Palerme

A big-budget feature film version of a mixtape: the conceit of letting the audience hear what the protagonist's personal playlist sounds like in their head when they wear their earbuds was executed very well by the seemingly arbitrary song selection to juxtapose with the action. It never felt like a "music video" yet this film has the look and all the trappings. I've been a fan of Wim Wenders for a long time but I somehow missed this one on its first release. The dream sequences are quite unique and effective; this film is Wenders as a cinema stylist. The film has an advertising gloss with the kind of patchwork of collage. I had no expectations coming into the film but I knew that I wasn't in the mood for anything intense. I got want I wanted. It's a visually stunning but understated trip-to-Italy film and I felt like I discovered a hidden gem. A must for any fan of Lou Reed; a decade later perhaps it's time to re-watch Palermo Shooting.

Since I saw "Der Himmel über Berlin" approximately 3 years ago I've become a valid Vim Venders fan. After that day, I always thought, Wim Wenders had something original to say. Palermo Shooting hasn't changed my verdict, well... Almost. The Thing about Palermo Shooting that I guess, this movie tells the well known story with different methods. The methods that little bit um, shall we say cheesy? Of course, this doesn't mean that it's not a enjoyable movie. It's very "warm" movie after all. But despite all this "warmness", you think in somewhere, something/things is/are missing in this movie. Still, it's worth to watching.

Finn (Campino) is a German photographer. He is highly successful in his profession, but not in life. He can't quite put his finger on it, yet there's something missing and he is overwhelmed by dark thoughts. He decides to spend some time in Italy as an attempt to escape.

Palermo Shooting is a movie heavy on symbolism and with a clear philosophical orientation, a meditation about life and death. However, its good looks are its strongest asset. The setting is once again in the spotlight for Wim Wenders, first beautiful Palermo and then the gorgeous landscapes of a small Italian village.

The main character's interactions with Death are reminiscent of Bergman's The Seventh Seal, while his subjective way of experiencing reality and the use of special effects has a clear touch of German expressionism.

It's easy to tell this was a very personal project for Wim Wenders, but still not everything works. The philosophical aspect isn't that interesting or original, the dialogue leaves a lot to be desired, the soundtrack felt a bit off.

Just to make sure to do justice, and that I had not misses something, I watched Palermo shooting twice before sharing how disappointing this mess of a film is.

Wenders has been going downhill, and severely for a couple of decades. Stick to his works of genius from the 1970's and 80's. Another reviewers said Wenders is "increasingly misunderstood."

That is the the problem. the problem is Wenders is increasing in a repetitive and hermetic bubble of his own making. See his most recent nonsense and ridiculously hagiographic portrait of Pope Francis to see the full decline.

This is easily Wim Wender's most pretentious movie to date, and that's saying a lot given that Wenders is perhaps the most pretentious director of his generation. There is so much symbolic Mumbo-Jumbo I don't know where to begin: Dungeons. Coffins. Dead people. Ghosts. Including Lou Reed as a black-and-white specter of himself. Flocks of sheep. A shape-shifting city skyline. Hooded strangers, shooting arrows and causing crashes. All of which I have seen before, and with more panache: In "Dark City", in Cronenberg's "Crash", Paul Auster's "Lulu on the Bridge", Tom Tykwer's "Winter Sleepers", even in TV's "Lost". I'm not even mentioning "The Devil's Advocate". At the height of his self-importance, Wenders has Dennis Hopper, in the part of Death himself, make a speech about the merits of analog photography. Sounds ridiculous? Go figure. But the weakest link is Wender's choice of Campino as photographer Finn Gilbert, the lead character. Campino, a German rock star in his day job, may be photogenic in an aging toy boy way, but an actor he sure is not. Anything he says sounds like a line from a script, and the script is weak enough to begin with. Wenders asks too much of him, and too little of his co-lead Giovanna Mezzogiornio, a fine actress restricted to sleepy smiles and sullen glances in this movie. Charming guest appearances by Jana Pallaske as a feisty arts student, Inga Busch as a sexy swimming instructor in Ugg boots and a bathing suit, and by the divine Milla Jovovich as her glamorous self. Nice enough soundtrack, featuring Bonnie Prince Billy, Nick Cave, and The Velvet Underground. Watch with your eyes closed.