Sonntag, 20. Mai 2012
Cannes-Ticker: 20. Mai
"Amour" (Michael Haneke) ****½
[Wettbewerb]; dt. KS: 20.09.

"My review of AMOUR will be up soon. No surprise as to the star rating. Even five doesn't do it justice", schreibt Peter Bradshaw (Guardian). "Sad and beautiful, LOVE may be Haneke at his most human", schreibt Drew McWeeny (HitFix). "Loved Haneke's AMOUR. The movie answers the question: what defines love. Beautiful, surprising... I may have to amend the best film so far from RUST & BONE to AMOUR. Good lord. What a movie", schreibt Sasha Stone (AwardsDaily). "The five stars are out for Michael Haneke's AMOUR. Also my waterproof mascara", schreibt Kate Muir (The Times). "AMOUR is two hours long. Sublime and refined and honest and sensitive, but old age and withering away with diapers is not for sissies", schreibt Jeffrey Wells (Hollywood Elsewhere). "Fest's first masterpiece: Haneke's LOVE. Rich, honest, deeply moving study of coping with intimacy, illness, death. Perfection", schreibt Geoff Andrew (Sight & Sound). "Haneke leaves twists and turns alone and offers the purest, cleanest, most truthful experience of aging to death you'll ever see in AMOUR", schreibt David Poland (The Hot Blog). "Sober, tender, incredibly controlled, one of the few films ever to really look old age in the face", schreibt Jonathan Romney (The Independent). "Hanekes AMOUR sieht beim Sterben zu, und ist zugleich sein emphatischster Film bisher. Ein makelloses Werk", schreibt Dominik Kamalzadeh (Standard). "Starts out surprisingly lovely, then turns Haneke-grueling. But always deeply felt & beautifully acted, if singleminded (77)", schreibt Mike D'Angelo (The A.V. Club). "Haneke's emotionally unrestrained and very French chamber piece AMOUR shows Trintignant and Riva off as astonishing actors", schreibt Nick James (Sight & Sound). "Unmoved by Haneke's AMOUR; good performances though", schreibt Damon Wise (Empire). "To me, liking that film is like eating stale, bland bread and calling it the best meal you've ever had. Nothing to it, forgettable", schreibt Alex Billington (FirstShowing). "Typically steely, meticulous look at decay and the prison of the human body. Unbearably sad, also perversely uplifting", schreibt David Jenkins (Little White Lies). "the best film at Cannes so far; a CRIES & WHISPERS for the Dignitas generation. Rigorous, unsparing, superbly played. Sounds like a perfume, smells like death", schreibt Xan Brooks (Guardian). "Not one to reduce to a Tweet, but Haneke's AMOUR is staggering. Incredible compassion, reserve, resolve. Trintignant is wonderful", schreibt Dave Calhoun (TimeOut Film). "Diesmal lässt Haneke seine Pianistin sterben, in einem zähen Kammerspiel (**½)", schreibt Christian Jungen (NZZ). "Haneke, bei dem man oft das Gefühl habe, er sei an der Menschheit verzweifelt, macht sich selber Hoffnung in der Hoffnungslosigkeit", schreibt Michael Sennhauser (SRF). "A film like LOVE reminds you of the folly of festivals. Went straight to SAPPHIRES afterward, resented having Haneke's spell broken", schreibt Justin Chang (Variety). "Magnificent in its simplicity and its relentless honesty about old age, illness and dying, AMOUR is a deliberately torturous watch, one that is going to weed the master’s fan club of the lightweights", schreibt Deborah Young (THR). "It's his most conventional movie about death, and the most poignant", schreibt Eric Kohn (indieWIRE). "Does LOVE sound hard to watch? At times, it is. Yet it’s also transfixing and extraordinarily touching, perhaps the most hauntingly honest movie about old age ever made", schreibt Owen Gleiberman (Entertainment Weekly). "I emerged from the film chilled to the bone, anxious to talk to my boyfriend and get a bowl of warm soup in my system. Which is its own kind of visceral emotional response", schreibt Karina Longworth (L.A. Weekly). "Believe the hype: Haneke’s AMOUR meticulous & devastating, though question is whether non-Haneke fans will still be thrown by its...Haneke-ness", schreibt Steven Zeitchick (L.A. Times). "An unflinching yet supremely elegant examination of the final stages of life, unerringly acted by French greats Jean-Louis Trintignant and Emmanuelle Riva", schreibt Todd McCarthy (THR). "Michael Haneke wird älter – und immer noch besser. Sein neuer Film AMOUR ist meisterlich", schreibt Josef Lederle (Filmdienst). "Ein Meisterwerk. Das bisher Beste im Wettbewerb. So ein trauriger Film! Aber auch ein so schöner Film", schreibt Rüdiger Suchsland (Negativ Film). "By Sunday morning the festival had its first masterwork and an overwhelming critical favorite: A tender, wrenching, impeccably directed story of love and death", schreibt Manohla Dargis (New York Times).

"Jagten" (Thomas Vinterberg) ***½

JAGTEN is a hyperintense drama about a kindergarten teacher accused of child molestation (****½)", schreibt Christian Jungen (NZZ). "JAGTEN is crude, electric, gripping. Has audience bucking like broncos", schreibt Xan Brooks (Guardian). "Thomas Vinterberg's JAGTEN is his best film since FESTEN: tense, expertly constructed, superbly shot", schreibt Peter Bradshaw (Guardian). "Mads Mikkelsen gives one of his best ever performances in Thomas Vinterberg's THE HUNT; a very powerful (if a little undercranked) drama", schreibt Damon Wise (Empire). "Infuriating, frustrating. A film about lies, full of lies. Wanted to punch many of the characters. Too long. Ugh", schreibt Alex Billington (FirstShowing). "Unbearable tension of man wrongly accused of paedophilia - holds up in Vinterberg's THE HUNT; the implausibilities don't matter", schreibt Nick James (Sight & Sound). "THE HUNT is a taut, intelligent well acted drama about innocence persecuted, but ley down by implausible scenes", schreibt Geoff Andrew (Sight & Sound). "THE HUNT is Cannes Comp surprise so far: for once, a good film from this highly erratic director, with stunning Mads Mikkelsen", schreibt Robert Koehler (Variety). "Worst in show. A jumped-up, cynical TV movie with chronic lack of ambition & zero insight into human psychology", schreibt David Jenkins (Little White Lies). "Very average child abuse accusation drama. Imagine it happens and it does. Simplistic. Mostly compelling thoug", schreibt Dave Calhoun (TimeOut Film). "Continuing on from his impressive work in A ROYAL AFFAIR, which premiered in Berlin, this is a tremendous year for Mads Mikkelsen", schreibt David Rooney (THR). "THE HUNT keeps growing on me. Vinterberg is back at his FESTEN level. Mads Mikkelsen a serious candidate for Best Actor", schreibt Cedric Succivalli (ICS). "Ein Ausnahmefilm", schreibt Thomas Schultze (Blickpunkt:Film). "The witch-hunt basis of the story is woefully familiar, but visually, the film is excitingly alive, making even its most malign plot developments worth getting past", schreibt Todd McCarthy (THR). "Akzeptiert man diese Prämisse, ist JAGTEN spannend, bewegend, humorvoll", schreibt Josef Lederle (Filmdienst). "FESTEN director Thomas Vinterberg makes a storming comeback with this superbly thrilling drama about a kindergarten teacher accused of wrongdoing (****)", schreibt Peter Bradshaw (Guardian). "Don't believe the anti-hype;Vinterberg's film's a finely-tuned, human, riveting drama (4/5)", schreibt James Rocchi (MSN Movies).


"Student" (Un certain regard, Darezhan Omirbaev): "At the end, dream and the reality of the narrative overlap and never are clarified, creating a profoundly moving ending of questioning, at once hopeful and despairing, one that sees a tremendous significant even in small dreams, if that is all one has for now", schreibt Daniel Kasman (

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