‘Rimini’ was a critical hit at the Berlinale.
Philippe Bober’s Coproduction Office has confirmed multiple new deals struck during last month’s EFM on Austrian auteur Ulrich Seidl’s Berlin competition title Rimini.
Buyers now aboard include September Films for Benelux, Wanted for Italy, Triart for Sweden, Another World Entertainment for Norway, Ost For Paradis for Denmark, Bio Paradis for Iceland, Nitrate Filmes for Portugal, Auroa for Poland, Film Europe for Czech Republic and Slovakia, and Shani Film for Israel.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from...
Philippe Bober’s Coproduction Office has confirmed multiple new deals struck during last month’s EFM on Austrian auteur Ulrich Seidl’s Berlin competition title Rimini.
Buyers now aboard include September Films for Benelux, Wanted for Italy, Triart for Sweden, Another World Entertainment for Norway, Ost For Paradis for Denmark, Bio Paradis for Iceland, Nitrate Filmes for Portugal, Auroa for Poland, Film Europe for Czech Republic and Slovakia, and Shani Film for Israel.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from...
- 3/7/2022
- by Geoffrey Macnab
- ScreenDaily
Anyone seeking a peek into Ulrich Seidl’s worldview–perhaps his soul–could do worse than Rimini, his first film since Safari in 2016 and first narrative feature in almost a decade. It swells with Seidl ephemera: hunting trophies, Austrian basements, and lovelorn holiday-makers of a certain age. And then there’s the mood. Consider a shot near the end of its first act: a ghostly, out-of-season water park looming over an out-of-season man; mist clouds so dense they hang over the park’s slides; and just to the right, still as statues, a group of hooded refugees.
Rimini, a dense and discomforting character study, stars an astonishing Michael Thomas as Richie Bravo, a once-popular singer of German Schlager music (a derided and sentimental genre that came to fame in the postwar years), now making ends meet as a washed entertainer in holiday resorts where he serenades, occasionally seduces (for a little extra income) aging fans.
Rimini, a dense and discomforting character study, stars an astonishing Michael Thomas as Richie Bravo, a once-popular singer of German Schlager music (a derided and sentimental genre that came to fame in the postwar years), now making ends meet as a washed entertainer in holiday resorts where he serenades, occasionally seduces (for a little extra income) aging fans.
- 2/12/2022
- by Rory O'Connor
- The Film Stage
‘Rimini’ Review: A Riveting, Upsetting Ulrich Seidl Slow-Burn Electrified by a Stunning Central Turn
Freezing winter in a place designed for frolicsome summer can be a doleful time. A case in point: the empty hotels, shuttered waterparks and endless fog banks of the Italian beach town that gives Ulrich Seidl’s challenging but riveting Berlin competition film its name. Along with the hazy gray shoreline and lonely iced-over thoroughfares, they’re the visual markers of a low season in which the “low” refers as much to mood as occupancy rates, though for the city’s tourist industry, it’s a gloom that will lift with the coming of spring. For Seidl’s film, a shiveringly precise slow burn that continues to burrow new tunnels in the mind long after it ends, no such renewal is in the cards. In “Rimini,” low season can always get lower.
The brilliantly named Richie Bravo (Austrian actor Michael Thomas giving such an astoundingly deep-dive performance it barely feels...
The brilliantly named Richie Bravo (Austrian actor Michael Thomas giving such an astoundingly deep-dive performance it barely feels...
- 2/12/2022
- by Jessica Kiang
- Variety Film + TV
Deals have been done for the UK, Germany and Spain among other territories.
Early in the EFM, the Coproduction Office has sealed a raft of high-profile deals for Austrian director Ulrich Seidl’s Golden Bear contender, Rimini.
The film has been bought by Sovereign (UK), Neue Visionen (Germany), Xenix (Switzerland), Filmin (Spain), Vertigo (Hungary), Must Kasi (Baltics), Demiurg (former Yugoslavia), Piano (Mexico) and Falcon (Indonesia). Stadtkino will release the film in Austria.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from his fans in the Italian coastal town. Trapped between...
Early in the EFM, the Coproduction Office has sealed a raft of high-profile deals for Austrian director Ulrich Seidl’s Golden Bear contender, Rimini.
The film has been bought by Sovereign (UK), Neue Visionen (Germany), Xenix (Switzerland), Filmin (Spain), Vertigo (Hungary), Must Kasi (Baltics), Demiurg (former Yugoslavia), Piano (Mexico) and Falcon (Indonesia). Stadtkino will release the film in Austria.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from his fans in the Italian coastal town. Trapped between...
- 2/11/2022
- by Geoffrey Macnab
- ScreenDaily
Deals have been done for the UK, Germany and Spain among other territories.
Early in the EFM, the Coproduction Office has sealed a raft of high-profile deals for Austrian director Ulrich Seidl’s Golden Bear contender, Rimini.
The film has been bought by Sovereign (UK), Neue Visionen (Germany), Xenix (Switzerland), Filmin (Spain) Vertigo (Hungary) Must Kasi (Baltics), Demiurg (former Yugoslavia), Piano (Mexico), and Falcon (Indonesia). Stadtkino will release the film in Austria.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from his fans in the Italian coastal town. Trapped between...
Early in the EFM, the Coproduction Office has sealed a raft of high-profile deals for Austrian director Ulrich Seidl’s Golden Bear contender, Rimini.
The film has been bought by Sovereign (UK), Neue Visionen (Germany), Xenix (Switzerland), Filmin (Spain) Vertigo (Hungary) Must Kasi (Baltics), Demiurg (former Yugoslavia), Piano (Mexico), and Falcon (Indonesia). Stadtkino will release the film in Austria.
Rimini tells the story of a faded pop star, now squeezing out whatever money and adulation he can from his fans in the Italian coastal town. Trapped between...
- 2/11/2022
- by Geoffrey Macnab
- ScreenDaily
The complete lineup for the 2022 Berlin International Film Festival, taking place February 10-20, 2022, has been unveiled and it’s a major collection of some of our most-anticipated films of the year. As teased yesterday, Claire Denis’ Fire (which now has the title Avec amour et acharnement (aka Both Sides of the Blade)) will premiere in competition, alongside Hong Sangsoo’s The Novelist’s Film, Carla Simón’s Summer 1993 follow-up Alcarràs, Ulrich Seidl’s Rimini, Rithy Panh’s Everything Will Be Ok, and more.
Elsewhere in the festival is Bertrand Bonello’s Coma, Dario Argento’s Dark Glasses, Andrew Dominik’s Nick Cave & Warren Ellis doc This Much I Know To Be True, Peter Strickland’s Flux Gourmet, Gastón Solnicki’s A Little Love Package, Quentin Dupieux’s Incredible But True, plus new shorts by Lucrecia Martel, Hlynur Pálmason, and more. Also recently announced was the Panorama section, which will open...
Elsewhere in the festival is Bertrand Bonello’s Coma, Dario Argento’s Dark Glasses, Andrew Dominik’s Nick Cave & Warren Ellis doc This Much I Know To Be True, Peter Strickland’s Flux Gourmet, Gastón Solnicki’s A Little Love Package, Quentin Dupieux’s Incredible But True, plus new shorts by Lucrecia Martel, Hlynur Pálmason, and more. Also recently announced was the Panorama section, which will open...
- 1/19/2022
- by Jordan Raup
- The Film Stage
The 72nd Berlin International Film Festival (February 10-20) revealed its Competition line-up on Wednesday, scroll down for the full list.
As previously announced, the International Competition opens this year with François Ozon’s Peter Von Kant. Joining the Ozon pic today were 17 further features, including new films from Hong Sang-soo, Claire Denis, Ulrich Seidl, and Rithy Panh.
This marks Denis’ first time in Berlin’s Competition, having been a regular at Cannes over the years, while her last film High Life debuted at Toronto. The director’s new movie Both Sides of the Blade (previously known as Fire) stars Juliette Binoche and Vincent Lindon.
South Korean filmmaker Hong Sang-soo picked up the Silver Bear for Best Director in 2020 for movie The Woman Who Ran. His latest pic is The Novelist’s Film, which Berlin Artistic Director today said celebrates chance encounters.
The Competition program is 17 world premieres plus one international premiere,...
As previously announced, the International Competition opens this year with François Ozon’s Peter Von Kant. Joining the Ozon pic today were 17 further features, including new films from Hong Sang-soo, Claire Denis, Ulrich Seidl, and Rithy Panh.
This marks Denis’ first time in Berlin’s Competition, having been a regular at Cannes over the years, while her last film High Life debuted at Toronto. The director’s new movie Both Sides of the Blade (previously known as Fire) stars Juliette Binoche and Vincent Lindon.
South Korean filmmaker Hong Sang-soo picked up the Silver Bear for Best Director in 2020 for movie The Woman Who Ran. His latest pic is The Novelist’s Film, which Berlin Artistic Director today said celebrates chance encounters.
The Competition program is 17 world premieres plus one international premiere,...
- 1/19/2022
- by Tom Grater
- Deadline Film + TV
Films by auteurs Claire Denis, Hong Sangsoo and Rithy Panh are part of the lineup in competition at the 72nd Berlin Film Festival.
Berlin’s 2022 selection spans 18 movies, seven directed by women, which will compete for the Golden and Silver Bears. The films originate from 15 countries, with 17 serving as world premieres. Two of the films are first features, both from women.
Artistic director Carlo Chatrian discussed the thematic throughline of “human and emotional bonds” across the selection, with the family unit serving as a key focal point in a number of movies. More than half are set in the present time, and two are within the pandemic era.
The festival hosts 12 returning filmmakers, eight of whom are in competition and five of whom already hold a Bear from Berlin.
The festival will go ahead as an in-person event, albeit with seating capacity in movie theaters reduced to 50% and without any parties or receptions.
Berlin’s 2022 selection spans 18 movies, seven directed by women, which will compete for the Golden and Silver Bears. The films originate from 15 countries, with 17 serving as world premieres. Two of the films are first features, both from women.
Artistic director Carlo Chatrian discussed the thematic throughline of “human and emotional bonds” across the selection, with the family unit serving as a key focal point in a number of movies. More than half are set in the present time, and two are within the pandemic era.
The festival hosts 12 returning filmmakers, eight of whom are in competition and five of whom already hold a Bear from Berlin.
The festival will go ahead as an in-person event, albeit with seating capacity in movie theaters reduced to 50% and without any parties or receptions.
- 1/19/2022
- by Naman Ramachandran
- Variety Film + TV
If “The Witch” had been directed by the early-career Werner Herzog of “Aguirre,” “Heart of Glass,” and “Even Dwarfs Started Small,” the result might have been something in the spirit of “Hagazussa,” Lukas Feigelfeld’s wholly arresting feature debut. Given the extended U.S. title “A Heathen’s Curse” to underline saleable supernatural elements, this enigmatic folktale-cum-horror is likely to flummox or even exasperate mainstream genre fans with its sparse plotting, slow pace, and near-impenetrable mysteries. But its mix of the poetical, repugnant, and phantasmagorical will weave a singular spell for more adventuresome, arthouse-friendly viewers.
Nearly two years after its premiere at Fantastic Fest 2017, it’s getting a limited U.S. theatrical release from Music Box’s genre subsidiary Doppelgänger, with a home-formats launch planned for the following week. Cult status is assured, and future work from Vienna native Feigelfeld — this is, incredibly, his film school graduation project — will be eagerly awaited.
Nearly two years after its premiere at Fantastic Fest 2017, it’s getting a limited U.S. theatrical release from Music Box’s genre subsidiary Doppelgänger, with a home-formats launch planned for the following week. Cult status is assured, and future work from Vienna native Feigelfeld — this is, incredibly, his film school graduation project — will be eagerly awaited.
- 4/18/2019
- by Dennis Harvey
- Variety Film + TV
"Come to me." Doppelgänger Releasing has debuted a new official Us trailer for the German horror thriller Hagazussa, set in the 15th century in Europe in a remote village in the Alps. Made by Austrian filmmaker Lukas Feigelfeld, this premiered at a number of major horror festivals in late 2017, but is just now making its way to American cinemas. Hagazussa is about an orphan woman named Albrun, played by Aleksandra Cwen, who begins to assert her otherworldly birthright as a marked woman. The plague she conjures makes human cruelty look pathetic and small by comparison. Described as "Germany's answer to The Witch that has stunning atmosphere mixed with brooding terror... Fans of slow-burn horror are going to want to settle in next to a crackling fire and let the story wash over them." The cast includes Claudia Martini, Tanja Petrovskij, Haymon Maria Buttinger, and Celina Peter. Check out this snowy,...
- 3/13/2019
- by Alex Billington
- firstshowing.net
After unleashing the hard-rocking Heavy Trip to great acclaim last year, Doppelgänger Releasing and Bloody Disgusting are looking to conjure a sinister spell this April with their second release, Lukas Feigelfeld's Hagazussa, and we've been provided with the exclusive trailer, poster, and release details for the movie that looks to be a dark godsend for viewers who have been on the hunt for the next great gothic folk horror film since seeing The Witch.
Doppelgänger Releasing and Bloody Disgusting will unleash Hagazussa in select theaters across the Us in mid-to-late April before bringing it to Blu-ray, DVD, and VOD on April 23rd.
We have the official press release with complete details below (including the full list of cities you can see Hagazussa in this April), as well as the new Hagazussa Us trailer and poster that are here to haunt your psyche with beautifully unnerving imagery.
Press Release: Chicago,...
Doppelgänger Releasing and Bloody Disgusting will unleash Hagazussa in select theaters across the Us in mid-to-late April before bringing it to Blu-ray, DVD, and VOD on April 23rd.
We have the official press release with complete details below (including the full list of cities you can see Hagazussa in this April), as well as the new Hagazussa Us trailer and poster that are here to haunt your psyche with beautifully unnerving imagery.
Press Release: Chicago,...
- 3/11/2019
- by Derek Anderson
- DailyDead
The picture that rocked Venice, winning the festival's Grand Jury Prize, Ulrich Seidl's nasty little satire probing the seamy underbelly of suburbia makes "American Beauty" look like "Father Knows Best".
And that's not necessarily a good thing.
"Dog Days" -- the first narrative feature by Austrian documentarian Seidl, whose controversial works are being featured in this year's Spotlight section at the Toronto International Film Festival -- is destined to offend.
Shot during the hottest days of three consecutive summers (1998-2000), the film is set in and around a coldly nondescript cluster of Vienna housing estates, where inhabitants beat the heat by sunbathing their not so perfect bodies when not engaging in all kinds of alcohol-soaked, certifiably depraved activities.
Among them:
A lonely old man (Erich Finsches) celebrates what would have been his 50th wedding anniversary by having his frumpy housekeeper (Gerti Lehner) do a striptease in his late wife's favorite dress.
A lonely teacher (Christine Jirku) is getting ready for a hot and heavy evening with her sleazy boyfriend (real-life Austrian pornographer Victor Hennemann), who shows up with a drunken friend.
A lonely divorced woman (Claudia Martini) has sex with her married masseur while her persona non grata ex-husband (Victor Rathbone), who still shares the same house, listens outside her bedroom door.
A lonely, somewhat disturbed young woman whiles away her days hitching rides and then annoying drivers with her nonstop recitations of top 10 lists (the top 10 supermarkets, the top 10 lovemaking positions, etc.) and commercial jingles.
And, of course, we haven't forgotten a brief but graphic orgy sequence that Seidl has thrown in at no extra cost.
He certainly coaxes some utterly immodest performances out of his cast of mainly nonactors, captured by cameraman Wolfgang Thaler with a coarse, casual sensationalism that suggests the work of still photographer Nan Goldin by way of John Waters.
But while it's all oddly intriguing up to a point -- visually, at least, the film has an undeniably quirky originality -- there's an overriding ugliness that prevails.
After two hours of raging misogyny and, for that matter, Seidl's apparent disdain of the human condition in general, "Dog Days" gives off the noxious stench of blatant self-indulgence.
DOG DAYS
The Coproduction Office presents
an Allegro Film production
Director: Ulrich Seidl
Producers: Helmut Grasserl, Philippe Bober
Screenwriters: Ulrich Seidl, Veronika Franz
Director of photography: Wolfgang Thaler
Production designers: Andreas Donhauser, Renate Martin
Editors: Andrea Wagner, Christof Schertenleib
Costume designer: Sabine Volz
Color/stereo
Cast:
The Hitchhiker: Maria Hofstatter
Alarm Systems Man: Alfred Mrva
The Old Man: Erich Finsches
The Housekeeper: Gerti Lehner
The Ex-wife: Claudia Martini
The Ex-husband: Victor Rathbone
The Masseur: Christian Bakonyi
The Teacher: Christine Jirku
Her Lover: Victor Hennemann
The Lover's Friend: Georg Friedrich
Running time -- 120 minutes
No MPAA rating...
And that's not necessarily a good thing.
"Dog Days" -- the first narrative feature by Austrian documentarian Seidl, whose controversial works are being featured in this year's Spotlight section at the Toronto International Film Festival -- is destined to offend.
Shot during the hottest days of three consecutive summers (1998-2000), the film is set in and around a coldly nondescript cluster of Vienna housing estates, where inhabitants beat the heat by sunbathing their not so perfect bodies when not engaging in all kinds of alcohol-soaked, certifiably depraved activities.
Among them:
A lonely old man (Erich Finsches) celebrates what would have been his 50th wedding anniversary by having his frumpy housekeeper (Gerti Lehner) do a striptease in his late wife's favorite dress.
A lonely teacher (Christine Jirku) is getting ready for a hot and heavy evening with her sleazy boyfriend (real-life Austrian pornographer Victor Hennemann), who shows up with a drunken friend.
A lonely divorced woman (Claudia Martini) has sex with her married masseur while her persona non grata ex-husband (Victor Rathbone), who still shares the same house, listens outside her bedroom door.
A lonely, somewhat disturbed young woman whiles away her days hitching rides and then annoying drivers with her nonstop recitations of top 10 lists (the top 10 supermarkets, the top 10 lovemaking positions, etc.) and commercial jingles.
And, of course, we haven't forgotten a brief but graphic orgy sequence that Seidl has thrown in at no extra cost.
He certainly coaxes some utterly immodest performances out of his cast of mainly nonactors, captured by cameraman Wolfgang Thaler with a coarse, casual sensationalism that suggests the work of still photographer Nan Goldin by way of John Waters.
But while it's all oddly intriguing up to a point -- visually, at least, the film has an undeniably quirky originality -- there's an overriding ugliness that prevails.
After two hours of raging misogyny and, for that matter, Seidl's apparent disdain of the human condition in general, "Dog Days" gives off the noxious stench of blatant self-indulgence.
DOG DAYS
The Coproduction Office presents
an Allegro Film production
Director: Ulrich Seidl
Producers: Helmut Grasserl, Philippe Bober
Screenwriters: Ulrich Seidl, Veronika Franz
Director of photography: Wolfgang Thaler
Production designers: Andreas Donhauser, Renate Martin
Editors: Andrea Wagner, Christof Schertenleib
Costume designer: Sabine Volz
Color/stereo
Cast:
The Hitchhiker: Maria Hofstatter
Alarm Systems Man: Alfred Mrva
The Old Man: Erich Finsches
The Housekeeper: Gerti Lehner
The Ex-wife: Claudia Martini
The Ex-husband: Victor Rathbone
The Masseur: Christian Bakonyi
The Teacher: Christine Jirku
Her Lover: Victor Hennemann
The Lover's Friend: Georg Friedrich
Running time -- 120 minutes
No MPAA rating...
The picture that rocked Venice, winning the festival's Grand Jury Prize, Ulrich Seidl's nasty little satire probing the seamy underbelly of suburbia makes "American Beauty" look like "Father Knows Best".
And that's not necessarily a good thing.
"Dog Days" -- the first narrative feature by Austrian documentarian Seidl, whose controversial works are being featured in this year's Spotlight section at the Toronto International Film Festival -- is destined to offend.
Shot during the hottest days of three consecutive summers (1998-2000), the film is set in and around a coldly nondescript cluster of Vienna housing estates, where inhabitants beat the heat by sunbathing their not so perfect bodies when not engaging in all kinds of alcohol-soaked, certifiably depraved activities.
Among them:
A lonely old man (Erich Finsches) celebrates what would have been his 50th wedding anniversary by having his frumpy housekeeper (Gerti Lehner) do a striptease in his late wife's favorite dress.
A lonely teacher (Christine Jirku) is getting ready for a hot and heavy evening with her sleazy boyfriend (real-life Austrian pornographer Victor Hennemann), who shows up with a drunken friend.
A lonely divorced woman (Claudia Martini) has sex with her married masseur while her persona non grata ex-husband (Victor Rathbone), who still shares the same house, listens outside her bedroom door.
A lonely, somewhat disturbed young woman whiles away her days hitching rides and then annoying drivers with her nonstop recitations of top 10 lists (the top 10 supermarkets, the top 10 lovemaking positions, etc.) and commercial jingles.
And, of course, we haven't forgotten a brief but graphic orgy sequence that Seidl has thrown in at no extra cost.
He certainly coaxes some utterly immodest performances out of his cast of mainly nonactors, captured by cameraman Wolfgang Thaler with a coarse, casual sensationalism that suggests the work of still photographer Nan Goldin by way of John Waters.
But while it's all oddly intriguing up to a point -- visually, at least, the film has an undeniably quirky originality -- there's an overriding ugliness that prevails.
After two hours of raging misogyny and, for that matter, Seidl's apparent disdain of the human condition in general, "Dog Days" gives off the noxious stench of blatant self-indulgence.
DOG DAYS
The Coproduction Office presents
an Allegro Film production
Director: Ulrich Seidl
Producers: Helmut Grasserl, Philippe Bober
Screenwriters: Ulrich Seidl, Veronika Franz
Director of photography: Wolfgang Thaler
Production designers: Andreas Donhauser, Renate Martin
Editors: Andrea Wagner, Christof Schertenleib
Costume designer: Sabine Volz
Color/stereo
Cast:
The Hitchhiker: Maria Hofstatter
Alarm Systems Man: Alfred Mrva
The Old Man: Erich Finsches
The Housekeeper: Gerti Lehner
The Ex-wife: Claudia Martini
The Ex-husband: Victor Rathbone
The Masseur: Christian Bakonyi
The Teacher: Christine Jirku
Her Lover: Victor Hennemann
The Lover's Friend: Georg Friedrich
Running time -- 120 minutes
No MPAA rating...
And that's not necessarily a good thing.
"Dog Days" -- the first narrative feature by Austrian documentarian Seidl, whose controversial works are being featured in this year's Spotlight section at the Toronto International Film Festival -- is destined to offend.
Shot during the hottest days of three consecutive summers (1998-2000), the film is set in and around a coldly nondescript cluster of Vienna housing estates, where inhabitants beat the heat by sunbathing their not so perfect bodies when not engaging in all kinds of alcohol-soaked, certifiably depraved activities.
Among them:
A lonely old man (Erich Finsches) celebrates what would have been his 50th wedding anniversary by having his frumpy housekeeper (Gerti Lehner) do a striptease in his late wife's favorite dress.
A lonely teacher (Christine Jirku) is getting ready for a hot and heavy evening with her sleazy boyfriend (real-life Austrian pornographer Victor Hennemann), who shows up with a drunken friend.
A lonely divorced woman (Claudia Martini) has sex with her married masseur while her persona non grata ex-husband (Victor Rathbone), who still shares the same house, listens outside her bedroom door.
A lonely, somewhat disturbed young woman whiles away her days hitching rides and then annoying drivers with her nonstop recitations of top 10 lists (the top 10 supermarkets, the top 10 lovemaking positions, etc.) and commercial jingles.
And, of course, we haven't forgotten a brief but graphic orgy sequence that Seidl has thrown in at no extra cost.
He certainly coaxes some utterly immodest performances out of his cast of mainly nonactors, captured by cameraman Wolfgang Thaler with a coarse, casual sensationalism that suggests the work of still photographer Nan Goldin by way of John Waters.
But while it's all oddly intriguing up to a point -- visually, at least, the film has an undeniably quirky originality -- there's an overriding ugliness that prevails.
After two hours of raging misogyny and, for that matter, Seidl's apparent disdain of the human condition in general, "Dog Days" gives off the noxious stench of blatant self-indulgence.
DOG DAYS
The Coproduction Office presents
an Allegro Film production
Director: Ulrich Seidl
Producers: Helmut Grasserl, Philippe Bober
Screenwriters: Ulrich Seidl, Veronika Franz
Director of photography: Wolfgang Thaler
Production designers: Andreas Donhauser, Renate Martin
Editors: Andrea Wagner, Christof Schertenleib
Costume designer: Sabine Volz
Color/stereo
Cast:
The Hitchhiker: Maria Hofstatter
Alarm Systems Man: Alfred Mrva
The Old Man: Erich Finsches
The Housekeeper: Gerti Lehner
The Ex-wife: Claudia Martini
The Ex-husband: Victor Rathbone
The Masseur: Christian Bakonyi
The Teacher: Christine Jirku
Her Lover: Victor Hennemann
The Lover's Friend: Georg Friedrich
Running time -- 120 minutes
No MPAA rating...
- 9/17/2001
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.