BootDigest Such a frustrating disappointment

Platicsco Good story, Not enough for a whole film

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

IOBdennis I hated it. I hate self-aware pretentious inanity that masquerades as art. This film is either stupidly inane or inanely stupid. After the first half hour, I fastfowarded through the DVD version, and saw the same juvenile shennanigans over and over and over. I became angered that I had spent hard-earned money for sophomoric clap-trap. Tinting drivel in sepia or blue does not make something a movie, let alone art.

zorander Once you sit in the chair in the cinema, the lights are turned down and the movie starts, you enter a wonderful world. The heartwarming work of a Dadaist, which needs no words. Everybody can understand this film.

dzstroke015 This is a film that filled me with warmth and appreciation for the cinematic artform. Using tinted black and white film and a suggestion of dialogue, Veit Helmer was able to successfully tell a story in the way they were told within the first 30 years of cinema. It should renew anyone's faith in this medium who thought that Hollywood productions were all that were left to call "entertainment".Andre is the younger son of a blind man, left to run a delapidated bath house in a fictional European city a few years in the future(?). He not only has to juggle the possible closing of the house by local authorities, keep business going as usual, and keep his Father from finding out the true plight of which they face, but also face his first true love, Eva. All this and an evil brother who wants to see the bath house torn down in way for a new development and you have a formula that has been seen many times over.However, several elements come into play that make this an outstanding film. One, the film is shot using tinted black and white film, giving the decaying sets a life of their own. Second, Veir opted out of having any "real" dialogue and instead presented a combination of gestures, expressions and universally known words to convey the words. This made way for the kind of acting that was predominate in the first 30 years of film history, and if he had decided to illiminate the dialogue altogether it would have come out the exact same way. Not since the premiere films of Luc Besson, David Lynch or Lars Von Trier can I stress the incredible treasure that has been created.I hope that many more of you have the chance to see this film.

caleidos I had the luck to see it at a festival for young directors in Salerno and I was surprised it won for a few votes only.There is something that recalls Chaplin and Beckett's theatre works(the acting,of course)and it also quotes Jean Vigo's L'Atalante in many shots.There is also a quotation from Nosferatu in the early minutes!This flavour of old time silent film is even more present in the wonderful photography and the surrealistic scenography.I love this film and I think that it is far better than Kusturica has done.Moreover the style,so refined, is quite different from Kusturica's works.And mind that the director had made only short films before!