Transit

WWII LARP on Valium, or how to fictionalize the failure to raise money for a period novel adaptation. If it had at least been more acknowledged in the idea of the universality of fatalistic clichés, and if the filmmakers had at least decided to work with that "malaise" a bit more formally and scenically, we might have come to an agreement, but the film horribly sniffs its own farts, not to mention it's just sloppy craftsmanship. The last time I tore at a cinema seat like this was with Jarmusch's The Limits of Control. ___ Watched as part of Catch-Up Tuesday at Prague’s Světozor cinema, and as much as I'm increasingly thinking that putting films into context with some spoken introduction is actually not a bad idea, if it's going to be in this form, I take it all back. The five-minute-long ascension, quoting the promotional materials for a film where one gets the feeling that the person is describing his own start-up, reminded me of the Summer Film School information brochure the other day, where the descriptions for about sixty films began "It's as if Lynch and Haneke…" (05/15/2019)

The German director and screenwriter Christian Petzold’s Transit is a movie precisely to my taste. The dramatic story with a slightly romantic touch and tragic etudes surrounding the main protagonist Georg, in a very convincing performance by the charismatic Franz Rogowski, got under my skin right from the opening minutes and kept my full attention right into the closing credits, accompanied by the sweet stains of Road to Nowhere by the famous new wave band Talking Heads. I have a nagging feeling that the setting of the events of World War II in the contemporary world gave the action an almost terrifying dimension. (90%) (04/15/2022)