Laurin

This movie turned out to be quite a bit different then I thought it would be but in a good way. The subtitle would lead you to believe that Laurin is a horror movie but after a few minutes you realize it is something completely different. Previous comments refer to this movie as being surreal and I think that is about as close to an explanation as you can get. This is a gorgeously shot movie that utilizes great natural scenery combined with carefully chosen lighting which sets the mood in every scene. The director makes great use of imagery and color and overall this movie has a really ominous and eerie feeling to it all the way through. As I mentioned though, this isn't really a typical American "horror" movie considering the low body count. It is more cerebral then most horror movies and is artfully put together from beginning to end without being pretentious art house crap.

There are a wholllleeeee lot of interesting characters in this movie, many who have issues with repressed sexuality. The lead character Laurin sleeps in a crib and at first seems to be mentally age-regressed or slow...or something. Also present are the local Priest and his son who both seem to have a number of "issues" relating to childhood and sexuality. Don't forget the crossdressing sissy school-boy, the dope smoking granny, and spying on people in the bathtub.

If you're looking for gore or high body count then keep going but if you are open to something a little more in the vein of maybe David Lynch then I highly recommend Laurin.

There's no use in denying it, I was deeply disappointed after my viewing of "Laurin". With its newly reestablished cult-status, the exclusively praising reviews here on IMDb & in specialized magazines, and - most of all - the chilling premise of a child murderer roaming around in a small German port town in the early 1900s, I was 200% convinced "Laurin" was destined to become a personal favorite, and perhaps even a rare 10/10 rating.

But alas, either my expectations were set far too high (likely), or Robert Sigl's acclaimed debut isn't as darkly twisted, compelling, and genius as others say. The film nevertheless remains worthwhile and even recommend viewing for fans of gothic horror and macabre fairy tales, though. It features an uncanny and slow-brooding atmosphere, a few terrifying highlights, an intriguing coming-of-ace sub context, and an unforgettable climax. Admittedly this is a lot more than in most other movies I watch, so maybe I should just shut up.

When Laurin's father leaves again for many months of work at sea, the young teenage girl is left behind with her pregnant mother and sick grandmother. Agony strikes when her mother dies in suspicious circumstances, and a young gypsy child disappears in the village. Suddenly, all the adults (the pastor, the new schoolteacher, parents of classmates) start behaving strangely according to Laurin, and she has supernatural visions. Does her mother want to tell her something?

Sigl's film is at its best and utmost powerful when it's a true gothic nightmare! The sequences taking place during a thunderstorm at night in the graveyard, or when Laurin discovers the lair of the killer, can easily rival with the most haunting moments in Hammer movies. The beginning and the ending of "Laurin" are great, but unfortunately not much of importance happens during the whole middle part. Our young protagonist clashes back and forth between childhood and adulthood, there are vague hints of child abuse, and daily life in the classroom is also very challenging, but it all proceeds very slowly and without unsettling scenes. The decors, the music, and the use of colors are stunning. It's a pity (according to me) the film is only available in English and, to my knowledge, doesn't exist in German/Hungarian with subtitles. Probably this was to appeal to the international film-festival circuit, but it affects the credibility and the acting performances.

What a strange film so much going on for Robert Sigl a director only 25 he went to go to Hungary for the cast and crew and got it done for less money and it looks so wonderful. He had the idea of a woman in a black cloak and a rainstorm in a cemetery. It is used very well so much like those mist, cobwebs, candles and so much more as the Gothic imagery we all know but so effectively used here. There is something terrible going on we are not sure what is happening but a woman sees someone with a body and she falls in the river and a priest who is a bit odd and his son he lets him be the school teacher and with all those young children. Despite all that is going on and the strange things happening there is Dora Szinetar and her incredibly pretty face girl of about 12. She does not have much dialogue but it all happens by the others and we just have to watch her. Her friend who is put upside down in the cupboard in the school room by the bully is different but gradually it all goes around and by the end we finally know the awful truth and even who will be in another cupboard.

When I first saw this film in 1989, the director had just won the Bavarian Film Prize as "Best Rookie Director." However, I didn't know what to expect. I had been familiar with other modern German movies and was prepared to be disappointed. Just the opposite turned out to be true. The film had a dreamlike quality with beautiful photography, a haunting atmosphere and a gripping story. The music fit the film perfectly and I couldn't believe that the movie had been made by a first-time director. The story was not presented chronologically or sequentially, but was punctuated with flashbacks and "flashforwards," making it seem like a puzzle to be solved, as much as a story to be told. Although it had elements of a fairy tale, the sinister and symbolic elements conspired to make it seem more like a Gothic novel. It was an interesting combination of mystery, suspense, and psychological study, with historic elements thrown in. I came out of the theater knowing that there was hope for the modern German film. In recent years, I have seen the film again a number of times. Each time I see it, I seem to understand more and to find things that I hadn't previously noticed. Although some would put the film into the "horror" or "suspense" category, it is a world apart from a monster or slasher movie, although it has tinges of both. I heartily recommend the film to anyone who enjoys suspense. You will be sitting on the edge of your seat, especially during the final scene, and you will be thinking about the film for days to come.

I discovered this movie on DVD several years ago. It left a fairly good impression on me, then I kinda forgot it for a few years. I've heard in 2017 that it would be fully remastered and re-released in Germany on blu-ray by Bildstörung Editions. I thought that it would be nice to give it another shot, and check out if it stands the test of time (the movie is from 1989). Boy, was it worth the wait ! It looked absolutely gorgeous in HD ! I had a blast: the settings, the visuals and the colors were wonderful, the blu-ray did it all absolutely justice. Technically perfect, but what about the movie itself ? I think it is more powerful than ever. A repeated viewing allows to discover little details you couldn't notice on the first time, thats how rich this movie is. Not much dialogues, the director Robert Sigl rather communicates with us through metaphors, with colors, with images, with visual poetry, and of course adult themes that do not need much words to creep under your skin. I'm not going to tell you what the story is about, you can read the summary on IMDb, or just let the movie surprise you. If you like the atmospheric italian gothic movies from the 70's, or the macabre poetry of Jean Rollin's films (but with more class and a little more budget), then I strongly urge you to seek out this gem of a movie, and see for yourself what dark beauty and strong themes can do to your subconscious, its definitely worth the experience. I can not recommend it enough. After more than 30 years, the movie still travels around the globe (France, Italy, Spain, USA...) and the public discovers a movie, that should be recognised as an instant classic. It deserves so much more. I saw other movies by this director (all made-for-TV), this guy has so much talent, he should be up there among David Lynch, Guillermo Del Toro or whatever directors are praised for their entire worlds they create on screen. I still have hope that he will direct another movie for the big screen, and he will show the world (and especially Germany, his own country where he is politely ignored) what he can do, and definitely stand among our biggest talents in movies.