The Girl and the Spider
Produced by Aline Schmid, Adrian Blaser
Directed by Ramon Zürcher
Written by Ramon Zürcher, Silvan Zürcher
Starring: Henriette Confurius, Liliane Amuat, Ursina Lardi, Flurin Giger, André M. Hennicke, Ivan Georgiev, Dagna Litzenberger Vinet, Lea Draeger, Sabine Timoteo, Birte Schnöink
Cinematographer: Alexander Haßkerl
Release Date/Prediction: Berlinale 2021 would be a logical repeat.
…...
Produced by Aline Schmid, Adrian Blaser
Directed by Ramon Zürcher
Written by Ramon Zürcher, Silvan Zürcher
Starring: Henriette Confurius, Liliane Amuat, Ursina Lardi, Flurin Giger, André M. Hennicke, Ivan Georgiev, Dagna Litzenberger Vinet, Lea Draeger, Sabine Timoteo, Birte Schnöink
Cinematographer: Alexander Haßkerl
Release Date/Prediction: Berlinale 2021 would be a logical repeat.
…...
- 1/7/2021
- by Nicholas Bell
- IONCINEMA.com
It’s with great pleasure to see Austrian director Jessica Hausner’s fourth feature Amour Fou available on Blu-ray in the Us, considering several of her previous exemplary titles have failed to secure distribution altogether. Winner of Best Screenplay and Best Film Editing at Austrian Oscars, premiering her latest at the 2014 Cannes Film Festival in the Un Certain Regard sidebar, it’s an innovative exploration of the strange thing called love. Film Movement released the title in three theaters in early summer of 2015, and only managed to rake in around thirteen thousand in a three month run. Although it ultimately didn’t manage to heighten Hausner’s international profile as much as one would’ve hoped, with a little luck this should end up on some year-end best lists and continue to grasp a wider, more deserving audience.
Hausner reveals her strongest work yet, a droll, romantic exploration of sorts...
Hausner reveals her strongest work yet, a droll, romantic exploration of sorts...
- 11/3/2015
- by Nicholas Bell
- IONCINEMA.com
Love Fool: Hausner’s Latest an Exquisitely Shot, Humorous Exploration of Love and Death
With her fourth feature film, Amour Fou, Austrian director Jessica Hausner reveals her strongest work yet, a droll, romantic exploration of sorts that manages to expertly blend her unique tone with exquisite digital compositions from her longtime cinematographer Martin Gschlacht. In comparison to their first outing together, 2001’s Lovely Rita, their mastery of the digital image couldn’t be more strikingly apparent. Whereas that film’s complex subject suffered greatly from the rather jarring presentation of image and jagged zooms, here they’ve controlled the medium fantastically. The film’s look is so remarkably beautiful that non-German speakers will be hard pressed to keep up with subtitles as they soak in her unique tale of dying for love.
In 1811 during the last several months of German poet Heinrich von Kleist’s (Christian Friedel) life, his search...
With her fourth feature film, Amour Fou, Austrian director Jessica Hausner reveals her strongest work yet, a droll, romantic exploration of sorts that manages to expertly blend her unique tone with exquisite digital compositions from her longtime cinematographer Martin Gschlacht. In comparison to their first outing together, 2001’s Lovely Rita, their mastery of the digital image couldn’t be more strikingly apparent. Whereas that film’s complex subject suffered greatly from the rather jarring presentation of image and jagged zooms, here they’ve controlled the medium fantastically. The film’s look is so remarkably beautiful that non-German speakers will be hard pressed to keep up with subtitles as they soak in her unique tale of dying for love.
In 1811 during the last several months of German poet Heinrich von Kleist’s (Christian Friedel) life, his search...
- 3/19/2015
- by Nicholas Bell
- IONCINEMA.com
The weirdly compelling story of 19th-century author Heinrich von Kleist’s dark desire for a married woman has an undertone of absurdity
Jessica Hausner’s Amour Fou is a strange tragicomic chamber piece based on the life of the 19th-century author Heinrich von Kleist. The film is as carefully composed and disquieting as earlier Hausner films such as Lourdes (2009) and Hotel (2004) but more inert, more deathly: an effect entirely deliberate.
It is set in the Berlin of the Romantic era, where von Kleist has had a sensational success with his 1808 novel The Marquise of O. Christian Friedel – who played the kindly schoolteacher in Haneke’s The White Ribbon – is Heinrich himself, overwhelmed at despair at the human condition and longing for death. Conceiving a doomed passion for a young married woman Henriette Vogel (Birte Schnoeink), he tries to persuade her to join him in a suicide pact, having failed to...
Jessica Hausner’s Amour Fou is a strange tragicomic chamber piece based on the life of the 19th-century author Heinrich von Kleist. The film is as carefully composed and disquieting as earlier Hausner films such as Lourdes (2009) and Hotel (2004) but more inert, more deathly: an effect entirely deliberate.
It is set in the Berlin of the Romantic era, where von Kleist has had a sensational success with his 1808 novel The Marquise of O. Christian Friedel – who played the kindly schoolteacher in Haneke’s The White Ribbon – is Heinrich himself, overwhelmed at despair at the human condition and longing for death. Conceiving a doomed passion for a young married woman Henriette Vogel (Birte Schnoeink), he tries to persuade her to join him in a suicide pact, having failed to...
- 2/5/2015
- by Peter Bradshaw
- The Guardian - Film News
Dear Danny,
I also rode the Tokyo Tribe rollercoaster, and my head hasn’t stopped spinning yet. Slamming together the most rabid excesses of the worlds of manga comics and hip-hop music, it’s a continuous blitzkrieg: Sono’s ne plus ultra of sheer brio, and, along with Godard’s Adieu au language, the festival’s most assaultive sensory experience so far. Its pinwheel neon hues, inflamed camera movements and acrobatic gangland mugging are straight-up dilations of Seijun Suzuki’s vintage gonzo pulp—indeed, the first time I ever heard Japanese rapping on screen was during a brief interlude in Suzuki’s mock-opera Princess Raccoon. I doubt even that veteran iconoclast, however, could have dreamed up the bit in Tokyo Tribe when the vile underworld kingpin (Riki Takeuchi), swollen like an obscene parade float, pulverizes a field of warring gangs with a Gatling gun held, of course, crotch-level. Such moments of absolute glee abound,...
I also rode the Tokyo Tribe rollercoaster, and my head hasn’t stopped spinning yet. Slamming together the most rabid excesses of the worlds of manga comics and hip-hop music, it’s a continuous blitzkrieg: Sono’s ne plus ultra of sheer brio, and, along with Godard’s Adieu au language, the festival’s most assaultive sensory experience so far. Its pinwheel neon hues, inflamed camera movements and acrobatic gangland mugging are straight-up dilations of Seijun Suzuki’s vintage gonzo pulp—indeed, the first time I ever heard Japanese rapping on screen was during a brief interlude in Suzuki’s mock-opera Princess Raccoon. I doubt even that veteran iconoclast, however, could have dreamed up the bit in Tokyo Tribe when the vile underworld kingpin (Riki Takeuchi), swollen like an obscene parade float, pulverizes a field of warring gangs with a Gatling gun held, of course, crotch-level. Such moments of absolute glee abound,...
- 9/9/2014
- by Fernando F. Croce
- MUBI
Cannes - Only a few months ago, in the colder climes of the Berlin Film Festival, I had the misfortune of seeing and reviewing "A Long Way Down," a terminally laughless British farce about four suicidal souls who meet and bond on the roof of the same popular London jumping-point. Some critics decried it as tasteless, but it was only the execution that was botched: there is scarcely a taboo subject that can't be made funny in crafty directorial hands, and along comes Jessica Hausner's deft, delightful "Amour Fou" to prove it. A delicate, cerebral romantic comedy based on -- wait for it -- the 1811 suicide pact between German Romantic writer Heinrich von Kleist and his married ally Henriette Vogel, "Amour Fou" is neither romantic nor comedic in the uncompromised, mallow-centered fashion that has given the genre an undeservedly bad name. (There's going to be no Jennifer Aniston-starring remake any time soon,...
- 5/17/2014
- by Guy Lodge
- Hitfix
Amour Fou
Director: Jessica Hausner
Writer: Jessica Hausner
Producers: Martin Gschlacht, Antonin Svoboda, Bruno Wagner, Bady Minck, Alexander Dumreicher-Ivanceanu, Philippe Bober
U.S. Distributor: Rights Available
Cast: Christian Friedel, Birte Schnoeink, Stephan Grossmann
We’re excited to see Hausner’s followup to her excellent third feature, 2009’s Lourdes, which starred Sylvie Testud and Lea Seydoux. While many had been hoping her latest would have been ready for a late 2013 release, we can look forward to seeing her latest get a prime slot at a major festival. Starring Christian Friedel, who many will recognize from The White Ribbon, Hausner seems to be positioning a new take on the period piece.
Gist: Amour Fou is inspired by the life and death of the poet Heinrich von Kleist and his partner in death, Henriette Vogel. However, rather than being a biographical portrait, the film is to be understood as a parallel about the ambivalence of love.
Director: Jessica Hausner
Writer: Jessica Hausner
Producers: Martin Gschlacht, Antonin Svoboda, Bruno Wagner, Bady Minck, Alexander Dumreicher-Ivanceanu, Philippe Bober
U.S. Distributor: Rights Available
Cast: Christian Friedel, Birte Schnoeink, Stephan Grossmann
We’re excited to see Hausner’s followup to her excellent third feature, 2009’s Lourdes, which starred Sylvie Testud and Lea Seydoux. While many had been hoping her latest would have been ready for a late 2013 release, we can look forward to seeing her latest get a prime slot at a major festival. Starring Christian Friedel, who many will recognize from The White Ribbon, Hausner seems to be positioning a new take on the period piece.
Gist: Amour Fou is inspired by the life and death of the poet Heinrich von Kleist and his partner in death, Henriette Vogel. However, rather than being a biographical portrait, the film is to be understood as a parallel about the ambivalence of love.
- 2/28/2014
- by Nicholas Bell
- IONCINEMA.com
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