A German boy who witnesses Nazi horrors grows up to become a painter in this overcooked but affecting melodrama
At a key early moment in German director Florian Henckel von Donnersmarck’s acclaimed art-drama/suspense-thriller hybrid (which reportedly received a 13-minute standing ovation at the Venice film festival last year), a young boy confronted by a terrible sight holds his hand in front of his eyes. At first, we think he’s doing it to blot out the spectacle of his beloved aunt Elisabeth (Saskia Rosendahl) being bundled into an ambulance in Nazi Germany. But the truth is more complex. As young Kurt (a wonderfully wide-eyed Cai Cohrs) holds his palm a few inches in front of his face, we see what he sees – the hand coming into close focus, rendering what’s behind it slightly blurry. When his hand drops down, the awful truth beyond remains momentarily fuzzy – creating...
At a key early moment in German director Florian Henckel von Donnersmarck’s acclaimed art-drama/suspense-thriller hybrid (which reportedly received a 13-minute standing ovation at the Venice film festival last year), a young boy confronted by a terrible sight holds his hand in front of his eyes. At first, we think he’s doing it to blot out the spectacle of his beloved aunt Elisabeth (Saskia Rosendahl) being bundled into an ambulance in Nazi Germany. But the truth is more complex. As young Kurt (a wonderfully wide-eyed Cai Cohrs) holds his palm a few inches in front of his face, we see what he sees – the hand coming into close focus, rendering what’s behind it slightly blurry. When his hand drops down, the awful truth beyond remains momentarily fuzzy – creating...
- 7/7/2019
- by Mark Kermode
- The Guardian - Film News
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