With Mermaids don’t cry, director Franziska Pflaum has realised a kind of delicate and symbolic contemporary fairytale, in which a magnetic protagonist represents a kind of postmodern heroine on her (often difficult) path towards a new self-awareness. At the Diagonale’23.
The Tobacconist is undoubtedly an interesting feature film, but it gets lost in the many paths it decides to take. And not even the presence of Bruno Ganz or a cameo by the great Erni Mangold can do much.
The Whore’s Son is the story of a desperate mother-son relationship. A continuous chasing after each other without ever actually meeting. A love-hate relationship that can often lead to the most extreme solutions.
Moonbound is all in all an enjoyable, colourful and, at times, adrenaline-fuelled feature film for families. A film with an international scope that, however, both in terms of the script and the realisation of the CGI pictures, suffers greatly from the comparison with other animated films made in the meantime all over the world. At the Diagonale’22.
Despite an interesting story and distinctly clever insights, Above the World stands out for certain stylistic and narrative choices that caused it to lose personality. At the Diagonale’22.
A film, You bet your Life, which focuses entirely on the inner self of its protagonist and which, consequently, boasts a highly appropriate direction, with frequent use of shoulder-mounted cameras and frenetic editing to show us his anxieties.