A wonderfully melancholic film. With outstanding actors and also many funny moments.
However, I found it very worrying how the suicide of one of the characters in the film is seen as positive in the sense of a decision of free will. This attitude completely fails to recognise that this - still so young - person is obviously suffering from severe clinical depression and does not have an unclouded and clear free will at that moment. This man needs treatment and the help of a friend. He is sick and could be saved.
I very much hope that no people with suicidal thoughts watch this film, because I see a strong danger here that it could trigger a suicide. The film should defenitely show a trigger warning beforehand.
The highlight of the film are the music scenes. They are really outstanding. I would have loved to watch THIS movie.
In the end, I have to say: the film made an emotional impression on me, but I don't really know what to do with it now. It didn't give me many new insights.
The family was more of a laboratory set-up than a real family. Where are the uncles, the aunts, the parents' siblings, the cousins and nephews? None of them are coming to the funerals?
The portrayal of the central character, the composer, was also very contradictory. He is obviously supposed to be an emotionally cold person who is incapable of empathy. But the way he conducts his orchestra speaks a completely different language. So compassionate! A highly emotional conductor, who also understands the emotions of music very sensitively, and fullly empathises with them.
Later, however, the suicide of his best friend leaves him completely cold. Neither his mother's death nor his fathers touch him. He doesn't care at all that his sister is going to the dogs.
Psychologically, this doesn't fit together at all. I maintain that there is no such person. The author seems to have little idea of human psychology, or he doesn't care.
The conductor is constantly moved to tears, he is always helping his fellow human beings in the most altruistic way. You only do that if you are extremely compassionate. No psychopath does that.
Here, a character has been subordinated to the will of the author. Without the outstanding lead actor Lars Eidinger, this weird concept would never have worked. This actor is so believable that he can bring even completely unrealistic characters to life.
That makes the film interesting, yes. But don't expect to learn anything about real life or reality. It's good for an intellectual western audience who has seen it all and likes to watch an abstract experiment. For that, it's great.
And who says that films should always be about reality, or even me, right?
(It's also a little too long, by the way. The chapter with the sister didn't interest me at all. )
However, I found it very worrying how the suicide of one of the characters in the film is seen as positive in the sense of a decision of free will. This attitude completely fails to recognise that this - still so young - person is obviously suffering from severe clinical depression and does not have an unclouded and clear free will at that moment. This man needs treatment and the help of a friend. He is sick and could be saved.
I very much hope that no people with suicidal thoughts watch this film, because I see a strong danger here that it could trigger a suicide. The film should defenitely show a trigger warning beforehand.
The highlight of the film are the music scenes. They are really outstanding. I would have loved to watch THIS movie.
In the end, I have to say: the film made an emotional impression on me, but I don't really know what to do with it now. It didn't give me many new insights.
The family was more of a laboratory set-up than a real family. Where are the uncles, the aunts, the parents' siblings, the cousins and nephews? None of them are coming to the funerals?
The portrayal of the central character, the composer, was also very contradictory. He is obviously supposed to be an emotionally cold person who is incapable of empathy. But the way he conducts his orchestra speaks a completely different language. So compassionate! A highly emotional conductor, who also understands the emotions of music very sensitively, and fullly empathises with them.
Later, however, the suicide of his best friend leaves him completely cold. Neither his mother's death nor his fathers touch him. He doesn't care at all that his sister is going to the dogs.
Psychologically, this doesn't fit together at all. I maintain that there is no such person. The author seems to have little idea of human psychology, or he doesn't care.
The conductor is constantly moved to tears, he is always helping his fellow human beings in the most altruistic way. You only do that if you are extremely compassionate. No psychopath does that.
Here, a character has been subordinated to the will of the author. Without the outstanding lead actor Lars Eidinger, this weird concept would never have worked. This actor is so believable that he can bring even completely unrealistic characters to life.
That makes the film interesting, yes. But don't expect to learn anything about real life or reality. It's good for an intellectual western audience who has seen it all and likes to watch an abstract experiment. For that, it's great.
And who says that films should always be about reality, or even me, right?
(It's also a little too long, by the way. The chapter with the sister didn't interest me at all. )
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