|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Ca. 114 min.|
|FSK:||From 12 years|
Years ago the young actress Sonja (Nora von Waldstätten) turned her back on her homeland, a small village in the Austrian Alps, and moved to Berlin. There she seems to have found everything that was missing in the province: exciting work, success, prosperity. But when her father (Peter Simonischek) suffers a severe heart attack and from now on is a nursing case, Sonja has to go back home to help her sister Verena (Ursula Strauss) take care of her father. But Verena, who has been living with her family at home since her mother died in an accident and has taken over the management of the small hotel, is not very enthusiastic about the visit of her famous sister. There are still oppressed conflicts between the two women, which are revived by the clash. At the same time, they are forced to face the question of whether they are really living the life they have always dreamed of. And then there's a secret that her father wants to get rid of as long as he has the time…
"October November" is the latest directorial work by Götz Spielmann, who has even been nominated for an Oscar for his terrific thriller drama "Revanche". Although he has slowed down the pace once again for this family story and has also abandoned a clearly defined framework for action, "October November" is no less captivating and thrilling than its award-winning predecessor. That the drama can achieve this effect is due to several aspects. On the one hand, there is the very atmospheric visual language, which builds up a gripping basic mood from the very beginning, which is very difficult to elude. On the other hand there is the extremely intensive play of the actors. Nora von Waldstätten embodies Sonja, who seems to have completely isolated herself emotionally from her outside world, who is fascinatingly hypothermic, whereby her cocoon shows more and more cracks in the course of the film and reveals to the viewer some of the torn inner life of this exciting character.
On the other hand there is Verena, who seems to be very clever and seems to have both feet firmly on the ground. But Ursula Strauss shows with her strong play also the other facet of Verena. It is a side that keeps her hidden from her environment and that only comes to light in the presence of her secret affair (Sebastian Koch). Here it becomes clear that she is full of suppressed longings, full of disappointed hopes and full of vulnerability. Through a very authentic subtlety, Strauss succeeds in giving her character an emotional depth that Verena doesn't seem to possess at first glance. And finally, Peter Simonischek completes the trio supporting the film as a dying father who seems to have lost his stubbornness and hardness in the face of death. The other actors like Sebastian Koch are pushed a little into the background by the three strong main characters, which doesn't diminish their convincing performances at all.
"October November" is not an easy movie. Just the last third is dominated by an almost overwhelming heaviness. But at the same time it is this heaviness that makes the drama so intense. Spielmann confronts his characters on a small scale with very large, essential questions, which he does not resolve, but passes on to the audience. This gives the film an enormous after-effect that lasts for a very long time and inspires us to think intensively about the very basic things of our existence. A well played chamber play in front of a powerful scenery, which should not be missed by lovers of challenging programme cinema fare. Worth seeing
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