Tom Tykwer, the young German director of “Deadly Maria,” has a big streak of Roman Polanski in him. His icy, almost mocking portrait of a repressed woman who explodes out of a state of emotional claustrophobia strongly recalls Mr. Polanski’s 1965 classic, “Repulsion.” With its ominous whispering sound effects that suggest inner demons about to emerge, and flashy cinematography in which the camera circles the characters like a beast about to spring, the movie keeps you aware at all times that the director is fiendishly pulling strings.Read More »
2001-2010DramaGermanyQueer Cinema(s)RomanceTom Tykwer
A Berlin-set drama centered on a 40-something couple who, separately, fall in love with the same man.Read More »
Pieces of the Action
A low-budget no-brainer, Run Lola Run is a lot more fun than Speed, a big-budget no-brainer from five years ago. It’s just as fast moving, the music is better, and though the characters are almost as hackneyed and predictable, the conceptual side has a lot more punch. If Run Lola Run had opened as widely as Speed and it too had been allowed to function as everyday mall fodder, its release could have been read as an indication that Americans were finally catching up with people in other countries when it comes to the pursuit of mindless pleasures. Instead it’s opening at the Music Box as an art movie.
Why try to sell an edgy youth thriller with nothing but kicks on its mind as an art movie? After all, it’s only a movie–a rationale that was trotted out for Speed more times than I care to remember. The dialogue of Run Lola Run is certainly simple and cursory, but it happens to be in subtitled German–which in business terms means that it has to be marketed as a film, not a movie. And of course nobody ever says “It’s only a film,” just as no one ever thinks of saying “It’s only a concert,” “It’s only a novel,” “It’s only a play,” or “It’s only a painting.” Because they’re omnipresent, movies almost oblige us to cut them down a peg or two just so we can breathe around them.Read More »