This movie portrays the drug scene in Berlin in the 1970s, following tape recordings of Christiane F. 14-year-old Christiane lives with her mother and little sister in a typical multi-story...
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This movie portrays the drug scene in Berlin in the 1970s, following tape recordings of Christiane F. 14-year-old Christiane lives with her mother and little sister in a typical multi-story apartment building in Berlin. She's fascinated by 'The Sound', a new disco with the most modern equipment. Although legally she's too young, she asks a friend to take her. There, she meets Detlef, who's in a clique where everybody's on drugs. Step by step she gets drawn deeper into the scene.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Originally the movie was going to be directed by Roland Klick but after a long preparation he was fired only two weeks before shooting, after a fallout with producer Bernd Eichinger After that Uli Edel came in to direct the movie. See more »
After Christiane meets two friends inside of the Zoo station building, all three leave through a door looking for Detlef (Christiane's boyfriend) where the male prostitutes stand in line. One of her friends (Axel) wears flares-type light blue jeans inside the station, but outside he suddenly wears slim-fit dark blue jeans. See more »
Dedicated to: Andreas W. "Atze" (1960 - 77), Axel W. (1960 - 77), Babette D. "Babsi" (1963 - 77) and all others who didn't have the luck and strength to survive. See more »
French DVD release includes a French-language dubbed version running 125 minutes. See more »
If you search for a document telling you the truth about falling into drug addiction in the 70s, this is the right film for you. But this is not a mere documentary; it's got artistic value, as well as great acting by the young and cute Nadja Brunckhorst and Thomas Haupstein. The scene where Christiane, after her first heroin sniffing, gets through a long gallery in a car with her friends is a wonderful metaphore of her first step into addiction. Great locations and a beautiful, functional photography complete this very good film, which represents an isolated case in director Ulrich Edels's career.
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