As he talks quietly, didactically, about a Rembrandt painting or a Turgenev novella, the words are weighted with potential double meanings.
Two of the film’s most tense scenes – masterpieces of subtext – consist of André simply describing an artwork to his colleague.
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Barbara is a departure from distinctive German film-maker Christian Petzold's previous icy thrillers – an elegant drama based on human and political dilemmasCaptures the weird oppression of 1980 East Germany … Barbara.Captures the weird oppression of 1980 East Germany … Barbara.ontemporary German cinema and perhaps even Germany itself are a bit of an unknown quantity in the UK, so it is a pleasure to see another feature from that highly talented and distinctive German film-maker Christian Petzold, who in the past has tended to specialise in icy suspense thrillers. However, as circumstances conspire to draw Barbara into the community, there are snatched glimpses of compassion and warmth behind the icy defiance. Are these stories a consolation or a threat?Despite critical acclaim and a number of award nominations, Petzold’s previous work has been largely overlooked by international audiences. Barbara's choice of book is significant: The Adventures of Huckleberry Finn.
Barbara, the cool character self-consciously smoking in the park, is an entirely different person at her job. His feature debut In some respects, then, Barbara marks something of a reverse step for Petzold, looking back to an earlier moment, before the country was supposedly unified. Barbara isn't a bad movie by any means, in fact it's actually well-made in a number of ways, but I was completely uninterested in it. Even while the film approaches its understated climax, when André’s prickly relationship with Barbara has softened to a nervous alliance, his loyalties remain uncertain.
In her review, Manohla Dargis said of the film: "Barbara is a film about the old Germany from one of the best directors working in the new: Christian Petzold. Hoss’s Barbara begins the film with a haughty demeanour and impassive visage (“Don’t be so separate,” André chides her, regarding her sideways from behind the wheel of a car). The moment of release foreshadows Barbara’s ultimate, quasi-maternal sacrifice, which transforms the film in its dying moment from thriller to melodrama and imbues all that has gone before with an uncharacteristically moral undertone. The girl has escaped from Torgau, a Socialist work camp nearby, and Barbara treats her with a mischievous warm camaraderie, and reads to her at night. As an East German wannabe emigré thaws, so does this cool thriller-turned-melodrama – and Catherine Wheatley sees new reason for international audiences to engage with the work of its director Christian Petzold.All we know of her is that she is a doctor, that she has recently been incarcerated, and that “if she were a six-year-old we’d call her sulky”.
Here the question – both for those within the film and those watching – is one of whom to trust. For Barbara, detachment is a mode of survival, for Petzold an aesthetic strategy.
Barbara is a departure from distinctive German film-maker Christian Petzold's previous icy thrillers – an elegant drama based on human and political dilemmas.
And as we reach the closing act, the possibility for redemption enters Petzold’s purview. The two men regard the cool blonde warily from their vantage point, high up in the hospital’s offices.It takes some 40 minutes before we begin to understand where we are and what Barbara’s crime might have been.
The New York Times designated Barbara a critics' pick. The merest hint of a smile appears in her eyes.And as she becomes less wary, so too do we. This is partly because Wolfsburg and Yella lack the news value of works such as The timeless aesthetic and uncanny setting lend a ‘there but for the grace of God’ quality to the film, forcing us into closer proximity with Barbara’s situation. Neither is worse off for it.©2020 British Film Institute. For more than a decade Mr. Petzold has been making his mark on the international cinema scene with smart, tense films that resemble … Barbara is slightly different: a drama based on human and political dilemmas. Barbara est chirurgien-pédiatre dans un hôpital de Berlin-Est. Bradshaw awarded the film four stars out of five.
But by the film’s conclusion, it seems that both may have softened somewhat. Barbara est un film allemand réalisé par Christian Petzold et sorti en 2012. In fact, the entire film hinges on the audience’s gradual transition from looking at Barbara – scanning her features for signs of her inner life – to looking with Barbara, working out who is an ally and who an enemy.As André, the shaggy-haired, soft-eyed Zehrfeld is just unreadable enough to keep us guessing. Her lips twitch. Deeply unhappy with her reassignment and fearful of her co-workers as possible Stasi informants, Barbara stays aloof, especially from the good natured clinic head, Andre. In 1980s East Germany, Barbara is a Berlin doctor banished to a country medical clinic for applying for an exit visa.
Petzold's favourite star, Nina Hoss, plays Barbara, a doctor in the East Germany of 1980. As André and Barbara are finally shot together, facing one another, Hoss’s hard-set mouth finally breaks into a full smile. The sinister figure surveying Barbara in the opening scenes is Stasi officer Klaus Schütz (Rainer Bock); the offence she has committed was against the socialist state (most likely applying for an exit visa).
Synopsis : Eté 1980. The script, written in consultation with However, as circumstances conspire to draw Barbara into the community, there are snatched glimpses of compassion and warmth behind the icy defiance. Barbara est un film réalisé par Christian Petzold avec Nina Hoss, Ronald Zehrfeld. All rights reserved.
An elderly man discusses his four-year wait to purchase a Mercedes; a radio blares out news of an Olympic silver medal for runner Christiane Wartenberg.Little by little, the realisation dawns that we are in 1980s East Germany.
As the film moves into its second half, the camera goes in closer, offering a greater preponderance of point-of-view shots and close-ups. Reading to her charge from Mark Twain, tenderly stroking her hair, Barbara lets her mask slip slightly.
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