|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Ca. 124 Min|
|FSK:||From 6 years|
Virginia, 1958: Richard (Joel Edgerton) and Mildred (Ruth Negga) love each other. They're happy together and expecting a child. Richard bought a piece of land for his Mildred and asked her to marry him. It all sounds like a wonderful love story. But in Virginia this love was forbidden. For Richard's skin was white, Mildred's black. To live together anyway, they got married in Washington State. But in Virginia the marriage was not recognized, which is why Richard and the pregnant Mildred were arrested in the middle of the night and imprisoned. Your case will be dealt with quickly in court: Either they go to jail for a year or they leave the state immediately on condition that they do not return together for 25 years. With a heavy heart, the Lovings are getting involved in this deal. Richard finds a new job in Washington and her family grows by three children over the next few years. But they're not happy here. They want to go back. And so they engage in a struggle that will have a significant impact on American civil rights…
"Loving" tells the true story of a married couple who had to fight for their love in a system of prejudice and racism. Even though the beginning of their many years of struggle dates back almost sixty years, the story of Richard and Mildred Loving is unfortunately still very topical today. Whether skin colour, origin or religion - unfortunately a love that does not care about such things and is accepted by the family or society is still not a matter of course. That's why "Loving" can definitely be called an important movie. But at its core it's also a very nice, touching movie, which is especially well played by Ruth Negga and Joel Edgerton.
The problem with the movie is exactly what Jeff Nichols' previous movies had to struggle with. "Take Shelter", "Mud" or "Midnight Special" are really good movies, but they all have in common that they are told very slowly and worn. And that goes for "Loving" too. There are many moments that are actually wonderfully staged, have a powerful visual language and are extremely well played. But very often Nichols steps on the brakes in such moments and challenges the patience of his audience. And as with his other movies, this also has the consequence that some viewers will lose their emotional connection to the story. Slowness is all well and good as long as it doesn't become boredom. And Nichols is generally very close to this border.
You have to be prepared for sequences in which not much happens and for very long settings. If you can cope with it, you will get a really good movie, in which only the ending seems a bit rushed. But if you get annoyed by tough scenes, in which you don't talk much but look into the distance with a dark face, you might lose interest in the story after one hour at the latest. And therefore there is only with small reservation the more than deserved one: Worth seeing!
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