Berlin_36
A rejoint le août 2001
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Note de Berlin_36
The characters felt shallow and unconvincing to me. Tim, played by Lars Eidinger, is an ego-driven father who parades around his Charlottenburg apartment in the nude, blind to the death of the family's housekeeper lying just meters away. His daughter Frieda is a caricature of Gen Z activism-climate protests by day, drug-fueled clubbing by night-while his son Jon retreats into an escapist VR world. These archetypes seem designed to tick boxes rather than create relatable human beings. Even Milena, played by Nicolette Krebitz with some depth, is saddled with clichéd dialogue and an implausible storyline involving her work in Nairobi.
Stylistically, the film is all over the place. Musical numbers erupt randomly, including Nicolette Krebitz dancing on Mommsenstraße in a sequence that feels more like a parody than a genuine artistic choice. VR gaming scenes are visually impressive but narratively hollow. At one point, animation takes over with superhero aesthetics that feel completely out of sync with the rest of the film. And then there's the recurring use of Queen's Bohemian Rhapsody, which is shoehorned into the movie so awkwardly that it left me cringing.
The central plot device-a stroboscopic light that allows characters to connect with the dead-could have been intriguing but instead felt like a forced metaphor for spiritual healing. Farrah, the Syrian refugee turned housekeeper and mystical savior, embodies problematic tropes: she exists solely to heal the privileged Northern family while her own struggles are sidelined. The film's attempt at social commentary comes across as tone-deaf and self-congratulatory rather than insightful.
The permanent rain in every exterior shot, which rarely looks real, just gets annoying at some point, especially when the sun is shining in the background.
Ultimately, Das Licht left me frustrated and disappointed. It's not just that it fails to deliver on its ambitious themes-it's that it seems oblivious to its own shortcomings. Tykwer indulges in stylistic excesses and narrative pretensions without anyone stepping in to say "stop." The result is a film that feels bloated and self-important, more concerned with appearing profound than actually being so. For all its visual flair and thematic ambition, Das Licht is a cautionary tale about what happens when creative hubris goes unchecked.
Stylistically, the film is all over the place. Musical numbers erupt randomly, including Nicolette Krebitz dancing on Mommsenstraße in a sequence that feels more like a parody than a genuine artistic choice. VR gaming scenes are visually impressive but narratively hollow. At one point, animation takes over with superhero aesthetics that feel completely out of sync with the rest of the film. And then there's the recurring use of Queen's Bohemian Rhapsody, which is shoehorned into the movie so awkwardly that it left me cringing.
The central plot device-a stroboscopic light that allows characters to connect with the dead-could have been intriguing but instead felt like a forced metaphor for spiritual healing. Farrah, the Syrian refugee turned housekeeper and mystical savior, embodies problematic tropes: she exists solely to heal the privileged Northern family while her own struggles are sidelined. The film's attempt at social commentary comes across as tone-deaf and self-congratulatory rather than insightful.
The permanent rain in every exterior shot, which rarely looks real, just gets annoying at some point, especially when the sun is shining in the background.
Ultimately, Das Licht left me frustrated and disappointed. It's not just that it fails to deliver on its ambitious themes-it's that it seems oblivious to its own shortcomings. Tykwer indulges in stylistic excesses and narrative pretensions without anyone stepping in to say "stop." The result is a film that feels bloated and self-important, more concerned with appearing profound than actually being so. For all its visual flair and thematic ambition, Das Licht is a cautionary tale about what happens when creative hubris goes unchecked.
I went into the movie with high expectations, good reviews and 10 Oscar nominations and the theme of brutalism in architecture that might interest me.
But unfortunately nothing about the movie is right...
It starts with the fairytale-like beginning, which is reminiscent of Cinderella: building a new library in the mansion of a super-rich man in a week without him knowing anything about it? That's irresponsible and silly! The fact that the patriarch's children, who commissioned the work, don't want to pay the architect, who becomes a coal shoveler and is soon celebrated in an architectural magazine - this could be straight out of a Disney movie.
When he is then asked to design a multifunctional house (4 in 1) and presents the villagers with an unambitious model of a boring factory building from the outside, without making it clear how the inside is supposed to work, apart from the projection of a cross of the sun through the roof on the floor of the building (which might have worked on the equator), is unfortunately also absurd.
The way the building is constructed is also implausible, I would have thought that concrete trucks would be constantly rolling in.
In the end, he didn't build the multifunctional building, but a sterile, misanthropic Holocaust memorial with no function for the villagers.
Beyond that, I'm not interested in any of the main characters, not the patron, not the architect, not his wife, most likely the taciturn niece, which is unfortunately not a compliment to the screenwriter.
But unfortunately nothing about the movie is right...
It starts with the fairytale-like beginning, which is reminiscent of Cinderella: building a new library in the mansion of a super-rich man in a week without him knowing anything about it? That's irresponsible and silly! The fact that the patriarch's children, who commissioned the work, don't want to pay the architect, who becomes a coal shoveler and is soon celebrated in an architectural magazine - this could be straight out of a Disney movie.
When he is then asked to design a multifunctional house (4 in 1) and presents the villagers with an unambitious model of a boring factory building from the outside, without making it clear how the inside is supposed to work, apart from the projection of a cross of the sun through the roof on the floor of the building (which might have worked on the equator), is unfortunately also absurd.
The way the building is constructed is also implausible, I would have thought that concrete trucks would be constantly rolling in.
In the end, he didn't build the multifunctional building, but a sterile, misanthropic Holocaust memorial with no function for the villagers.
Beyond that, I'm not interested in any of the main characters, not the patron, not the architect, not his wife, most likely the taciturn niece, which is unfortunately not a compliment to the screenwriter.
Some E-shots of Castemar show an elongated rectangular building, while other E-shots show a more square building. They seem to be two different buildings? Is there an explanation?