ZeddaZogenau
Joined Jul 2020
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A Bollywood thriller that follows different approaches - that sounded very promising! You don't get to see Indian films in German cinemas (outside of the big cities) every week. But first things first!
At the beginning of DEVA you see extremely dark corners of Mumbai where crime can clearly flourish. Such a realistic and socially critical approach is extremely unusual for Bollywood thrillers. But it is standard for films of this kind that we see Dev Ambre (Shahid KAPOOR), a kind of super-cop who has worked his way up from the lower layers of Indian society. But such a rabid cop from the common people sometimes goes too far. Even friends from a good family like Rohan (Pavail GULATI) and a benevolent superior like Farhan (Pravesh RANA) don't always help. During the investigation into a notorious criminal who is making the whole of Mumbai unsafe, it turns out that there must be a mole within the police who is passing on explosive information to the criminals. Corruption at the highest level! At some point, the super criminal falls into the net of the police officers who are investigating at full speed. Now everything should really be cleared up, but the plot of the film is far from over.
Turbulent action scenes, a narrative style nested in flashbacks and a very skilful misleading of the audience! A lot is said that can only be put together afterwards. The star of the film is definitely Shahid KAPOOR, whose cheeky performance is reminiscent of Tomas MILIAN from the Italian EuroCrime classics of the 1970s. In terms of wiry sex appeal, KAPOOR can also hold his own against a EuroCrime veteran like Luc MERENDA. This seems to have been quite a daring move for Hindi cinema. Rosshan ANDRREWS' action blockbuster did not do particularly well at the box office.
If you like crime films based on classic Italian models that have been shot using absolutely contemporary means, you'll be well served here. Indian films are still unusual for western viewing habits, but that's exactly why they're so interesting. This is pure genre cinema that goes all out!
After just under three hours, a resolution is presented that you could have expected from the Black Series films of American cinema in the 1940s. Indian cinema knows how to transfer the models of film history to the Mumbai of the imagined present. It's not boring, but you shouldn't expect any great insights either. It remains exciting to see how Shahid KAPOOR's film career will develop. Will cheek win? Or will he be knocked out by box office poison?
At the beginning of DEVA you see extremely dark corners of Mumbai where crime can clearly flourish. Such a realistic and socially critical approach is extremely unusual for Bollywood thrillers. But it is standard for films of this kind that we see Dev Ambre (Shahid KAPOOR), a kind of super-cop who has worked his way up from the lower layers of Indian society. But such a rabid cop from the common people sometimes goes too far. Even friends from a good family like Rohan (Pavail GULATI) and a benevolent superior like Farhan (Pravesh RANA) don't always help. During the investigation into a notorious criminal who is making the whole of Mumbai unsafe, it turns out that there must be a mole within the police who is passing on explosive information to the criminals. Corruption at the highest level! At some point, the super criminal falls into the net of the police officers who are investigating at full speed. Now everything should really be cleared up, but the plot of the film is far from over.
Turbulent action scenes, a narrative style nested in flashbacks and a very skilful misleading of the audience! A lot is said that can only be put together afterwards. The star of the film is definitely Shahid KAPOOR, whose cheeky performance is reminiscent of Tomas MILIAN from the Italian EuroCrime classics of the 1970s. In terms of wiry sex appeal, KAPOOR can also hold his own against a EuroCrime veteran like Luc MERENDA. This seems to have been quite a daring move for Hindi cinema. Rosshan ANDRREWS' action blockbuster did not do particularly well at the box office.
If you like crime films based on classic Italian models that have been shot using absolutely contemporary means, you'll be well served here. Indian films are still unusual for western viewing habits, but that's exactly why they're so interesting. This is pure genre cinema that goes all out!
After just under three hours, a resolution is presented that you could have expected from the Black Series films of American cinema in the 1940s. Indian cinema knows how to transfer the models of film history to the Mumbai of the imagined present. It's not boring, but you shouldn't expect any great insights either. It remains exciting to see how Shahid KAPOOR's film career will develop. Will cheek win? Or will he be knocked out by box office poison?
It was quite a surprise that the Kurdish-German director Ayse POLAT was awarded the GERMAN FILM AWARD for best director and best screenplay in 2024. But if you have seen her film IM TOTEN WINKEL, you know that these honors are not unjustified.
Everything takes place in the city of Kars in northeastern Turkey. The Turkish Nobel Prize winner for literature Orhan PAMUK has already set his novel SCHNEE there, at an altitude of 1768 meters above sea level. In Ayse POLAT's film, the somewhat naive director Simone (Katja BÜRKLE) from Germany has traveled to Kars with her cameraman Christian (Max HEMMERSDORFER) to film the old Kurdish woman Hatice (Tudan ÜRPER) during a very personal ritual. Simone is interested in imaginary monuments and recognizes this when Hatice prepares a certain soup every year in memory of her son who disappeared without a trace and distributes it to all the neighbors in her village. The young Kurdish woman Leyla (Aybi ERA) acts as a translator and also has her little English student Melek (Cagla YURGA) with her. Melek sees and feels more than the adults would give her credit for. What Simone does not suspect is that she and her small film crew are under constant observation. One evening there is a loud knock on Simone's hotel door...
A very mysterious story is told here from three different perspectives. Little by little it becomes clear how everything is connected and what role Melek's Turkish father Zafer (Ahmet VARLI) plays in it. The conflicts between Turks and Kurds have by no means come to a standstill in the past quarter century; in fact, they still have an impact. All of this is told in the form of an exciting political thriller. But be careful! A genuine ghost story, in the person of little Melek, sneaks into the bitter plot quite imperceptibly. The past is never dead, it is not even past. And: the sleep of reason produces monsters.
Admittedly, this is a rather complicated film, but it is very easy to understand through the chosen visual language. A bitter twist, however, is that the German woman, who is also the director, is unable to interpret the images correctly. The language spoken is German, English, Kurdish and Turkish. This film is well worth seeing, you should definitely get involved in this monstrous event!
Everything takes place in the city of Kars in northeastern Turkey. The Turkish Nobel Prize winner for literature Orhan PAMUK has already set his novel SCHNEE there, at an altitude of 1768 meters above sea level. In Ayse POLAT's film, the somewhat naive director Simone (Katja BÜRKLE) from Germany has traveled to Kars with her cameraman Christian (Max HEMMERSDORFER) to film the old Kurdish woman Hatice (Tudan ÜRPER) during a very personal ritual. Simone is interested in imaginary monuments and recognizes this when Hatice prepares a certain soup every year in memory of her son who disappeared without a trace and distributes it to all the neighbors in her village. The young Kurdish woman Leyla (Aybi ERA) acts as a translator and also has her little English student Melek (Cagla YURGA) with her. Melek sees and feels more than the adults would give her credit for. What Simone does not suspect is that she and her small film crew are under constant observation. One evening there is a loud knock on Simone's hotel door...
A very mysterious story is told here from three different perspectives. Little by little it becomes clear how everything is connected and what role Melek's Turkish father Zafer (Ahmet VARLI) plays in it. The conflicts between Turks and Kurds have by no means come to a standstill in the past quarter century; in fact, they still have an impact. All of this is told in the form of an exciting political thriller. But be careful! A genuine ghost story, in the person of little Melek, sneaks into the bitter plot quite imperceptibly. The past is never dead, it is not even past. And: the sleep of reason produces monsters.
Admittedly, this is a rather complicated film, but it is very easy to understand through the chosen visual language. A bitter twist, however, is that the German woman, who is also the director, is unable to interpret the images correctly. The language spoken is German, English, Kurdish and Turkish. This film is well worth seeing, you should definitely get involved in this monstrous event!
In the 1970s and 1980s, Johanna von KOCZIAN (1933 - 2024) was primarily perceived as a pop singer who sang with a touch of irony about how easy housework was ("The little bit of housework takes care of itself, says my husband!"). Two decades earlier, she was a busy film star in the then still flourishing West German film industry. In the film MENSCHEN IM NETZ, Johanna von KOCZIAN even played a role as amazing as the one played today by Cameron DIAZ, for example, in BACK IN ACTION by the global streaming provider NETFLIX.
Munich, late 1950s! Gitta Mertens (Johanna von Koczian) is very excited, her husband Klaus (Hansjörg FELMY) is finally arriving in the West German city. He has been incarcerated in the notorious Bautzen prison in the GDR since the workers' uprising on June 17, 1953. At the time, Germany was divided into two countries, East and West. In addition, the comrades from the GDR's state party, the SED, had also framed him for murder. Gitta works as a translator and now wants to cut back on her work at her company. But the company sees things very differently. After all, it is a spy ring infiltrated into Munich by the GDR, which wants to continue to profit from Gitta's services. It goes without saying that her husband, who has just been released from prison, soon becomes suspicious of Gitta's numerous night shifts. A monstrous murder soon takes place!
What an unusual espionage story is being presented here in the otherwise so staid cinema of the West German film industry! The GDR, an opponent of the system, carries out industrial espionage, blackmails decent citizens and does not shy away from murder and manslaughter. The film, which attracted more than 3 million visitors to the cinemas at the time, had almost been forgotten. But the resourceful ex-BERLINALE producer Carlo CHATRIAN, while still director of the LOCARNO Film Festival, initiated the retrospective LOVED AND REPRESSED: THE CINEMA OF THE YOUNG FEDERAL REPUBLIC OF GERMANY FROM 1949 TO 1963 in 2016, in which PEOPLE ON THE NET was also programmed.
The film is also an interesting example from the West German film industry. During this time, the producers Hans ABICH and Rolf THIELE (GOLDEN GLOBE 1959 for THE GIRL ROSEMARIE with Nadja TILLER) increasingly moved the productions of their FILMAUFBAU GmbH away from the tranquil university town of Göttingen to the more sophisticated Munich, where PEOPLE ON THE NET was also filmed. Shortly before shooting for his film HELDEN with O. W. FISCHER and Liselotte PULVER, director Franz Peter WIRTH received an OSCAR nomination. In addition to Hansjörg FELMY (1931 - 2007), who was already an established film star, the internationally sought-after Hannes MESSEMER (1924 - 1991) and Ingeborg SCHÖNER (celebrating her 90th birthday on July 2, 2025!!!), who was already active in Italy, also played in the spy thriller. Olga von TOGNI, Hanns LOTHAR and Paul VERHOEVEN appeared as sinister GDR agents. The screenplay was written by Herbert REINECKER (DERRICK) based on a script by Will TREMPER.
Munich, late 1950s! Gitta Mertens (Johanna von Koczian) is very excited, her husband Klaus (Hansjörg FELMY) is finally arriving in the West German city. He has been incarcerated in the notorious Bautzen prison in the GDR since the workers' uprising on June 17, 1953. At the time, Germany was divided into two countries, East and West. In addition, the comrades from the GDR's state party, the SED, had also framed him for murder. Gitta works as a translator and now wants to cut back on her work at her company. But the company sees things very differently. After all, it is a spy ring infiltrated into Munich by the GDR, which wants to continue to profit from Gitta's services. It goes without saying that her husband, who has just been released from prison, soon becomes suspicious of Gitta's numerous night shifts. A monstrous murder soon takes place!
What an unusual espionage story is being presented here in the otherwise so staid cinema of the West German film industry! The GDR, an opponent of the system, carries out industrial espionage, blackmails decent citizens and does not shy away from murder and manslaughter. The film, which attracted more than 3 million visitors to the cinemas at the time, had almost been forgotten. But the resourceful ex-BERLINALE producer Carlo CHATRIAN, while still director of the LOCARNO Film Festival, initiated the retrospective LOVED AND REPRESSED: THE CINEMA OF THE YOUNG FEDERAL REPUBLIC OF GERMANY FROM 1949 TO 1963 in 2016, in which PEOPLE ON THE NET was also programmed.
The film is also an interesting example from the West German film industry. During this time, the producers Hans ABICH and Rolf THIELE (GOLDEN GLOBE 1959 for THE GIRL ROSEMARIE with Nadja TILLER) increasingly moved the productions of their FILMAUFBAU GmbH away from the tranquil university town of Göttingen to the more sophisticated Munich, where PEOPLE ON THE NET was also filmed. Shortly before shooting for his film HELDEN with O. W. FISCHER and Liselotte PULVER, director Franz Peter WIRTH received an OSCAR nomination. In addition to Hansjörg FELMY (1931 - 2007), who was already an established film star, the internationally sought-after Hannes MESSEMER (1924 - 1991) and Ingeborg SCHÖNER (celebrating her 90th birthday on July 2, 2025!!!), who was already active in Italy, also played in the spy thriller. Olga von TOGNI, Hanns LOTHAR and Paul VERHOEVEN appeared as sinister GDR agents. The screenplay was written by Herbert REINECKER (DERRICK) based on a script by Will TREMPER.