Settimo cielo

I saw this film at the Cannes Film Festival 2008 and I must say of the 20+ films that I saw this was the most beautiful and most moving. This by far is the best film that I have seen in a long time. It takes a level of mental maturity to get past the "eeww old people sex" and see the story for itself. The film is touching, honest and emotional. The director did an amazing job in conveying the raw emotion of the situation. The actress that plays Inge was phenomenal. I could not see anyone else in that role. She was not playing a role but actually being. I highly recommend this film to anyone that enjoys true, honest, emotional and full films. If you like the light fluffy films this isn't for you. This is a film that will stay with you for awhile. (heck I saw it almost a month ago and I'm still thinking about it).

CLOUD 9 is a touching, yet disconcerting look at the romantic longings, and sexual desires of people in the late Autumn of their lives. Inge, a woman in her 60's, who has been married to Werner for over 30 years, has a spontaneous affair with Karl, who is 76. Their sexual encounters are portrayed in graphic detail, and I can't think of a film which has depicted such explicit sexuality between elderly characters. Although Inge feels a certain comfortability with Werner, she is slowly realizing that their life together is nothing more than marking time until death. Inge is awakening to the fact that she just might be entitled to a bit more, and Karl seems to provide the change for which she has been yearning. Andreas Dresen, the director, has provided a plot, however all of the dialog was improvised by the actors while filming. Little background is given, and the film explores the intensity of the sexual encounters, and the ramifications of these interactions. In depth narrative detail is sacrificed for the vividness and drama of the emotional consequences. CLOUD 9 clearly targets a mature audience, and for a small budget film which addresses a rather taboo subject, it is quite heartfelt and poignant.

Ursula Werner deserved her German Oscar for her performance in this film and so do her two male co-stars as well. This is a classic character portrait of film at it's best. It's not for children. It's mature viewing. Despite the subtitles, it's easy to follow the story. She plays a seamstress who takes on extra jobs to earn money. She lives with her husband of 30 years, Werner. She has an adult daughter, Petra, and grandchildren. Suddenly, she finds herself exploring her sexuality and falls in love with an older man. She's 67 years old. The film proves that older people like Inge are still sexually active. It's hard to imagine our grandparents being so sexual but this film helps us to dispel the notion that older people aren't sexually active anymore and have problems in their relationships as well. The film's message is that women may get to be grandmothers but they are still capable of sexuality and the need to be loved and affectionate in their years. Anyway, the film is quiet, understated but I'm not used to German films.

Andreas Dresen has given us the most memorable movie in a long time. Great actors in front of a patient camera that either stands still to let action evolve or focuses on the faces. There is hardly any dialog in the first half of the film, character development occurs through the camera. It's the cinematic language that brings to mind Mike Leigh's films. As to the buzz about "old sex" - it's true, Mr. Dresen has broken into new realms showing elderly people making love good and proper, with lots of detail but never once overstepping limits of good taste. This movie concerns every one of us. Especially those over 60 will come out of the show and not be able to stop talking about it for hours, as it happened in Buenos Aires when strangers started lively discussions while walking out into the bright late afternoon. Don't miss it! It will shake you, but not break you, and certainly stay with you for a long time.

This may be a good film. I have not the faintest idea in terms of how it develops beyond the first half hour, as that is all I could take before I feared that terminal boredom would get me for sure and I put on my recording of "Destry rides again" (James Stewart/Marlene Dietrich) to bring me back to life! I have heard that watching paint dry can be tiresome, but I found this, with its interminable panning shots and mumbled dialogue, the equivalent of listening to someone watching paint dry! No thanks/life's too short (as I presume was "the message" of this rambling cinematic outing????)Why DO so many German films have to be such stodgy, indigestible, s - l - o - w affairs? "Run, Lola, run" proves beyond the slightest doubt that they do not have to be!