Dieses Gefühl, dass die Zeit, etwas zu tun, vorbei ist

What a surprise! The second film by very talented Joanna Arnow (she edited, wrote, directed, and starred in the film) is a symphony of ambient shame, with movements centred on the different men that Ann, the protagonist, has varied-length and ambivalent relationships with. She manages to hit a range of painful notes in these movements, from ritualised abjection of sensual humiliation to cutting corporate indignities.

Extremely original, astute, truthful, and humorous. I adored how the openly sexual material contrasted with the visual aesthetic; it gave me the impression of the female gaze in action. In over 50 years of watching movies and writing reviews it is time to say: I've never seen a movie like this and I truly enjoyed it. Check it out if you enjoy subtle character development and deadpan humour...

I was struck with the idea of this film from the moment I saw the ads for it via the Florida Film Festival. I was drawn in by the deadpanned comedic chemistry that was equal parts candid as it was daring. Joanna Arnow (the powerhouse whom wrote, directed, and starred in this film) pulls off all blinders to the core themes of this film: sexuality, emotional pining, complacency, honest candor, and a feeling that can only be truly described with the film's apt title.

From beginning to end, we explore only as much of our protagonist Ana's psyche that she allows us to see. Guarded, yet open, her interactions with those around her paint a portrait of indecision and a trajectory of her life that is in one way ambiguous, but also free. The comedic stylings are delivered in a way that isn't over the top, relying of smart dryness and offbeat humor - a refreshing element to a story like this.

At this film's core, we are given a person to observe, and not necessary one do applaud or boo. Her choices, relationships, and actions happen in a way that we can empathize with, even if her character who is one in no need of it. Even so, with this film's gut-punch conclusion, you find yourself deciding what you want for her. This is a stark reminder that we are not meant to predict or encourage any of her behaviors and hope for any specific outcome, and that what transpired in this story is deeply personal but inevitable and fated.

I don't think I've seen a film like this one, and I don't think I ever will again. It's hard to accurately describe the emotions I felt during this film. It is expertly crafted and full of the quiet vigor of a story begging to be absorbed and understood completely.

I saw this movie at the New York Film Festival and it had me cracking up. So completely out of the box, sharp, honest and hilarious. I loved the visual style juxtaposed with the frank sexual content - this felt like the female gaze at work. I've never seen a movie like this and truly enjoyed.

It follows Anne (Joanna Arnow), a Brooklyn woman in an unfulfilling, long term bdsm relationship (which bears a hilarious resemblence to her daytime identity as low level corporate drone) as she navigates her family, friendship and attempts at "vanilla" dating.

Would recommend if you like deadpan humor & appreciate nuanced characters.

Greetings again from the darkness. It's billed as a comedy, though for many, the funniest part may be in trying to remember the film's title. Deadpan reaches a new level in this debut feature film from actor-writer-director-producer-editor Joanna Arnow. It's tough to recall any film that more belongs to one person. Indie filmmaker Miranda July's work is the closest I can think of, yet in comparison, her work comes closer to mainstream Spielberg than it does to this one from Ms. Arnow. None of that is meant to be harsh, it's simply a challenge to describe this film to anyone who hasn't seen it ... or even to someone who has.

The film is divided into five chapters, each named for the key "other" characters (not named Ann). Arnow stars as Ann, and the opening scene finds her in bed next to the much older Allen (Scott Cohen). It's here we discover she's age 33 and has been Allen's submissive since age 24. In fact, two of the chapters are named "Allen", and Ann even suggests they were "destined to be together". She makes this proclamation after a couple of attempts to try a modern approach to dating, each creating complications for her. These ventures are presented as vignettes and include a musician, a sleepover with her sister, a role-play costumer, dating app (mis) matches, and a film buff with a love of pickled herring. To cap it off, these interactions provide a certain symmetry with Ann's soulless work at a generic corporation. Imagine being rewarded with a one-year acknowledgement after you've worked there more than three years. You are getting a sense of Ann's personality ... somewhat less than memorable.

Ann is slumpy and frumpy, and her deadpan delivery masks a sharp wit and a spark that rarely comes through to others. As she begins the foundation of a more traditional relationship with Chris (Babak Tafti, "Billions"), her path to self-discovery seems to open up ... although that path may or may not surprise you by this point. Some of the vignettes are shockingly brief, and many feature Ann in an exposed (literally) state of vulnerability. As the vignettes zip by, watching this isn't dissimilar to scrolling through a feed. Joanna Arnow's real life parents (David Arnow, Barbara Weiserbs) play her parents here, and serve up the only raised voices in the film as they sing an animated version of "Solidarity". And no, Ann's relationship with her parents is not much different than the rest of her life. At times, this 'comedy' feels like a beatdown, but leaves us with one key life lesson: pay attention the first time you ask, "What college did you go to?".

Opens April 26, 2024.

The worst movie I've seen in years! There wasn't a single character I cared about at all. The script is almost non-existent. There are many, many, minutes of silence with no real activity on screen. Everyone in this movie seemed like they were ill, half asleep or just had totally boring. Nobody & nothing made any actual sense.

Not sure what equipment they used to make this movie but I've seen better video quality taken with a cellphone. And there was often obnoxious background noise. Not natural but maybe camera noise? Terrible.

The BDSM was more about strange relationships than actual BDSM. I know enough that It's usually not the submissive that tells the Master what they want. It was more just the main character wanting someone to be assertive in sex. The sex scenes here are not even softcore BTW.

Then there's the dialogue. An example is the Mother says: It's getting dark and it's 7:30. Ann says: Yes, I know. Mother: Tomorrow it will be 7:29. That's an entire scene. Hopefully no one was paid for writing this.

Nothing was funny. Nothing was dramatic. Nothing was exciting. Nothing was interesting. Movies like this one is why IMDB should allow Zero stars out of ten. One is too generous.