Bruno Ganz

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Night Train To Lisbon Trailer


When a Latin professor, Raimund Gregorius (Jeremy Irons), sees a young Portuguese woman in a red coat about to throw herself from a bridge, he is compelled to save her. She wrestles her way out of the coat and runs off into the rain, leaving the bemused and mystified professor pondering what it all means. When he discovers a small book in the pocket of her coat, he begins to embark on an odyssey to find her, yet very soon he becomes more interested in the novel's author, Amadeu do Prado (Jack Huston). After discovering tickets for a train to Lisbon stuffed inside the book, Gregorius hastily boards the train himself, throwing caution to the wind, along with his normal, boring life. 

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In Order of Disappearance Review


Excellent

This Norwegian revenge thriller may move at a steady, meandering pace, but it has such a sharp sense of pitch-black Scandinavian humour that it's never dull. As events spiral wildly out of control, the vivid characters are thoroughly entertaining in their misguided attempts at vengeance. And the snow-covered rural community offers an offbeat setting that's refreshingly bright and sunny rather than the usual gloomy grit.

At the centre of the story, Nils (Stellan Skarsgard) is a soft-spoken snowplow driver who keeps the country roads in Norway clear and quietly endures abuse over the fact that he's Swedish. When his grown son is found dead, he refuses to believe it was a drug overdose. Abandoned by his grieving wife, he launches his own investigation, following the trail and quietly killing each thug up the chain as he tracks down the swaggering hothead mob boss who calls himself The Count (Pal Sverre Hagen). Along the way, he gets help from his ex-gangster brother (Peter Andersson), inadvertently re-igniting the war between The Count and rival Serbian mobster Papa (Bruno Ganz), whose own son has been caught in the crossfire. And the body count grows exponentially.

The title refers to on-screen captions that offer a brief moment of respect for each person who dies along the way, which intriguingly puts every act of violence in perspective. This is mainly because the film's central theme is fathers and sons. The Count may be a racist/sexist monster who despises his trophy ex-wife (Birgitte Hjort Sorensen), but he also has an eerily warm bond with his own son. And as these three fathers - Nils, The Count and Papa - circle each other, this paternal theme adds some unexpected resonance to the comical nastiness. All three actors are terrific, combining tenacity and emotion with riotously incorrect actions and attitudes. But of course it's the superb Skarsgard we are rooting for.

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In Order Of Disappearance Trailer


After receiving the news that his son has tragically died from a heroine overdoes, citizen of the year and snow plow driver, Nils (Stellan Skarsgard) sets out to disprove the official report. He steadily uncovers evidence of a turf war between sinister crime boss "The Count" and his rivals from Serbia. It is a turf war which claimed the life of his son, and therefore becomes his problem. Armed with all the tricks of the snow plow trade and a sawn-off hunting rifle, Nils wages his own, bitter war on the criminal underworld, racking up an impressive body count through shear beginner's luck. 

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Age of Uprising: The Legend of Michael Kohlhaas Trailer


Michael Kohlhaas is a horse dealer living a simple but idyllic life with his beautiful wife, children and their quaint home. He buys some carefully selected horses to take home from a nearby town but on the way he is stopped by a greedy local baron who removes several of his horses apparently unlawfully. When Kohlhaas protests his rights, he discovers that his beloved wife has been ruthlessly killed and so he decides, with his whole world crashing down around him, to embark on a fearless voyage of vengeance. While attempting to gather an army to destroy the monsters who ruined his life, he is confronted by his own religious beliefs which tell him he must forgive his enemies. However, is seems Kohlhaas is willing to face the fiery depths of hell for what those enemies have taken from him.

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64th Berlin International Film Festival (Berlinale)

Stellan Skarsgard and Bruno Ganz - 64th Berlin International Film Festival (Berlinale) - 'In Order Of Disappearance' - Photocall - Berlin, Germany - Monday 10th February 2014

Stellan Skarsgard and Bruno Ganz

The Counselor Review


Weak

This film proves that all the right ingredients don't necessarily make a movie work. Even with top-drawer filmmakers and actors, this dramatic thriller simply never grabs our interest. It looks great, and everyone is giving it their all, but the story and characters remain so badly undefined that we can't identify with either.

The story's set on the US-Mexico border, where a slick lawyer (Fassbender) known as "the Counsellor" has slightly too much going on in his life. He has just proposed to his dream woman Laura (Cruz), while he's planning to open a nightclub with Reiner (Bardem). For extra cash, he's organising a massive cocaine shipment with Westray (Pitt). And it's this drug deal that goes wrong, creating a mess that engulfs Reiner and Laura, as well as Reiner's shrewd girlfriend Malkina (Diaz). As his life collapses around him, the Counsellor scrambles to salvage what he can, even as he realises that it'll be a miracle if anyone survives.

There are problems at every level of this production. McCarthy's first original script is simply too literary, putting verbose dialog into the actors mouths that never sounds like people talking to each other. Fassbender and Bardem are good enough to get away with this, but Pitt and Diaz struggle. Both Fassbender and Cruz bring out some wrenching emotions in their scenes, but their characters are never much more than cardboard cutouts. In fact, no one in this story feels like a fully fleshed-out person. And the little we know about each character makes most of them fairly unlikeable.

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The Counsellor Trailer


'The Counsellor' tells the story of a naive lawyer who holds the belief that dabbling in drug-trafficking is the best way to earn a little extra cash. However, that dabbling evolves into full-blown dealing which consumes his life and infects with all the corruption, betrayal and pain he thought he could avoid. Now with some seriously ruthless criminals on his tail, he begins to realise that there is nothing that these people will not do to get what they want and the odds on his life begin to get higher and higher. Unless he can work out who his friends are, he has no hope of returning to his normal life, but in a world where disloyalty affects everyone's relationships, he begins to wonder if he really has anyone there for him at all.

Directed by the triple Oscar nominated Sir Ridley Scott ('Prometheus', 'Gladiator', 'Alien'), this high-energy, gritty thriller is all about corruption and how smalls mistakes can lead to major consequences. The screenplay has been written by novellist Cormac McCarthy ('No Country for Old Men', 'All the Pretty Horses') and it features an exciting, star-studded cast ensemble. It is set to reach UK cinemas everywhere on November 15th 2013.

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Unknown Review


OK
With a Hitchcockian mistaken-identity plot, this film can't help but draw us into its slickly woven web of mystery. Although if we look to closely, each preposterous scene demands us to accept an increasingly wobbly sense of logic.

Martin (Neeson) is a scientist in Berlin with his wife Liz (Jones) for a conference, but he and his taxi driver Gina (Kruger) are involved in an accident that leaves him in a coma for four days. When he wakes up, Liz doesn't know him and insists that another man (Quinn) is actually Martin. Desperate for help, Martin contacts former Stasi agent Jurgen (Ganz), who starts digging into the situation, as well as a trusted colleague (Langella). But ruthless killers (Schneider and Erceg) are on his trail.

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Unknown Trailer


When Dr. Martin Harris awakes in a hospital in Berlin after an almost fatal car crash which put him in a coma for four days; he finds himself alone, his wife was also in the car with him but she's nowhere to be found. Worried for her safety Harris sets out to find her but when he eventually does, she does not recognise him and a stranger has assumed his identity.

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Youth Without Youth Review


Grim
I try to be tolerant when people insist on telling me about their dreams. You know what I'm talking about: a well-meaning friend, in the throes of self-discovery, tries to explain this revelatory dream he had the night before where he was back in grade school, but it was really his parents' living room, and his teacher wasn't actually his teacher at all, but rather his ex-girlfriend from five years ago. When faced with this situation, I try not to change the subject too abruptly. After all, the dream-teller is a friend. I ought to humor his compulsion to find meaning in nonsense.

I had a similar feeling while watching Francis Ford Coppola's newest movie, Youth Without Youth. Since he started making films in the late '60s, Coppola has given moviegoers more intense pleasures than perhaps any other American director. Films such as The Conversation, The Godfather, The Godfather II, and Apocalypse Now all stand as epic achievements of modern cinema. His more recent films -- like Jack and The Rainmaker -- are in no way recognizable as the work of a genius, but his past greatness inclines me to cut him some slack when he's struggling to say something. And Coppola is definitely struggling to say something in Youth Without Youth. It's a shame, then, that what he manages to get out is so incoherent and banal, so much like a clueless friend's stupid dream.

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Vitus Review


OK
Fredi M. Murer's Vitus may not be a fairy tale, as Murer himself is so quick to point out, but it certainly has the feel of childhood fantasy. Unlike most films about childhood told through the fantasy lens, Vitus orchestrates a fantasy based in realism that echoes child heroes as varied as Bastian Bux (The Neverending Story) and Oskar Matzerath (The Tin Drum).

As a young boy, Vitus comes naturally to the piano. The works of Liszt, Schumann and Ravel (amongst others) come easily to him, impressing his parents' dinner-party guests with one swift flutter of the ivory keys. His father (Urs Jucker) has a knack for technology and creates advanced hearing aids for a living. Vitus' mother (a stellar Julika Jenkins) has a job as well but quickly dismisses it to become her sons muse, manager and guide, much to the young boy's chagrin. It's when mother dismisses Vitus' babysitter and object of affection Isabel that he becomes unruly and begins to act out a bit.

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Luther Review


OK
Historical dramas that take liberties with the source material and add fictional elements often do better as exciting cinema. Witness Gladiator, a movie that created its own hero while fitting his exploits into the framework of classic Roman history. Not so Luther, whose narrative elements don't dare go beyond canonical bounds of Martin Luther (not King, the original 1500s Martin Luther).

The first frames of this account suggest how the reformation of the church got started. In this initial sequence, bolts of lightning reveal a man running in a field in the darkness of night as though they were aimed at him. He splashes down into the mud and cries out, "Save me, St. Anne," vowing that, if she does him this small favor, he'll become a monk and devote his life to the church. Thus we are introduced to Martin Luther (Joseph Fiennes) as well as to the imagined landscape of his mind.

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Bread And Tulips Review


Good
An unhappy Italian housewife, a lonely waiter, a goofy masseuse, lots of love, and gorgeous scenery all come together in Bread and Tulips, which proves charming despite its covering of predictable, well-worn material.

The story concerns the aforementioned housewife, Rosalba Barletta (Licia Maglietta) who accidentally becomes separated from her immediate family while on vacation. Instead of waiting for a ride home, Rosalba opts not to go home to her Italian town, but to instead hitchhike to Venice. Upon arriving, she tells her self-centered husband, Mimmo (an excellent Antonio Catania) that she'll be home in a few days.

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Lumiere and Company Review


OK
A documentary-ish experiment: Give 40 movie directors the world's first movie camera (the Lumiere cinematograph, 1895) and 52 seconds in which to shoot their own mini-film. Some of the directors go all out (David Lynch and some French people I've never heard of)... and some are pathetic, self-ego-massaging wastes of time (particularly Spike Lee, who uses his 52 seconds trying to get his baby to say "Dada"). Also curious is how many directors made movies about making movies (methinks that's all they know any more). But how often can you see 40 films, the making-of story, and an interview with the director, all in an hour and a half? Once in a lifetime is just about enough.

Wings of Desire Review


Excellent
Wim Wenders' 1987 opus Wings of Desire, opens on gloomy Berlin, still crumbling into disrepair after its destruction by the bombing of 1945 and decades of neglect. On the soundtrack we hear the poem that will reverberate throughout: "Als das kind kind war," (or "When the child was still a child") and see the angels. Dressed in dark overcoats and wearing expressions of quiet benevolence, they watch the city and its inhabitants (to whom they are invisible, except for the occasional child, who will point up into the sky at a figure only it can see) and listen. Their purpose isn't clear, as shown in the two angels whom Wenders focuses on - Damiel (Bruno Ganz) and Cassiel (Otto Sander) - they seem to be caretakers of memory, jotting down notes of random ephemera, listening to people's thoughts (one of the film's more amazing, and often-mimicked, tracking shots takes us through autobahn traffic, hearing the interior monologues of each driver). In one of the film's stranger notes, Peter Falk shows up playing himself(?!), in Berlin to shoot a movie. On the street, he turns out to be able to notice the presence of Damiel standing nearby and starts speaking to him about the amazing little things in life like smoking and drinking coffee: "And if you do it together, it's fantastic." Cadaverous goth rocker Nick Cave shows up as himself, too, but that makes a little more sense, the guy was just meant to be shot in black and white.

The rambling story takes on a semblance of shape when Damiel decides to literally fall from grace and become mortal after falling in love with Marion (Solveig Dommartin), a trapeze artist. Plopped onto the streets of Berlin (shot in color now that he's human), Damiel strides around the city searching for his love, with a look of transfixed delight on his face as he takes in every detail that he was only able to study before, and can now experience; while Cassiel watches with a mournful expression in his black-and-white world.

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Bruno Ganz

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