Director:
AKIZGuión:
AKIZCámara:
Clemens BaumeisterReparto:
Carolyn Genzkow, Sina Tkotsch, Wilson Gonzalez Ochsenknecht, Julika Jenkins, Kim Gordon, Arnel Taci, Til Schindler, Alexander Scheer, Arnd Klawitter (más)Sinopsis(1)
Con apenas diecisiete años, Tina se ha metido en un lío: una noche, después de una fiesta, comienza a tener unas terribles pesadillas en las que una espantosa criatura la sigue. Sus padres no le prestan mucha atención a sus problemas y Tina se ve abocada a superar su miedo y a lidiar directamente con su perseguidor. Un relato del paso de la niñez a la edad adulta, que se erige en una joya atípica y con una criatura callada y amorfa como un feto. (Sitges Film Festival)
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Reseñas (4)
51st KVIFF - the introduction with the screenwriters and the excellent interpreter were better than the film itself. I like bizarre stuff when it generates emotions, amazement or curiosity, but this one unfortunately only pissed me off.
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Exactly at this point, a new dimension of modern horror begins for me. I dived into this headfirst and didn't even bother watching the trailer; I was simply lured by the crazy description that could provide me with at least one mind-blowing experience at Karlovy Vary. Of course, there were reservations, just because of the country of origin and that peculiar story. I just regret not being full of energy at the midnight screening and feeling slightly tipsy due to tiredness. But if you fall asleep during this movie, you can be sure that a slight heart attack will wake you up shortly. Der Nachtmahr is undoubtedly the best horror film since It Follows in the past year for me. What AKIZ presented is something you have never seen before. He brought us a new form of horror that offers an incredibly controversial experience, mainly taken care of by the deafening electronic music and strobe flashing that burns your retinas. The first sentence warning about not watching the movie for people with epilepsy scared me a bit, but I mostly took it as a joke. Unfortunately, it wasn't a joke. Even a completely healthy person is mentally and physically drained by the plethora of audiovisual effects in this film. Essentially, the story wasn't my main focus, although I didn't have the slightest problem with it. The biggest attraction here is a small strange creature that you have no idea about throughout the whole runtime, along with a huge array of technical means. I was surprised by the significant amount of humor, which I didn't expect at all, but AKIZ managed to reduce it so brilliantly that you'll swallow it with a fishing reel. In this German horror gem, you can truly feel the inspiration from Gaspar Noe's works, which was also confirmed by the director himself at the KVIFF talks, where he further opened my eyes and revealed many secrets about this extraordinary film that required thirteen years of hard work, mental exhaustion, and even extreme poverty. AKIZ becomes an absolutely mysterious and inspiring figure for me, who managed to create such a splendidly unconventional cinematic experience on a large scale that made me burst into tears out of fear and caused my stomach to knot like in a centrifuge during some scenes. I'm crazily craving to watch this movie again, but if you really want to enjoy it, there is no other option but to see it in theaters. Luckily, I managed to do that, but still didn't have enough of it. I take my hat off and hope that the promised trilogy by Mr. Achim Bornhak is already on its way. Unquestionably the most exceptional experience at KVIFF 2016.
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E.T. is calling home! Youth anxiety over social rejection? Mental illness? Purgatory? When we include references to Kubrick and inspiration from Fuseli's oil painting, there are so many interpretations that even that degenerate little darling from who-knows-where couldn't count them on the fingers of one hand. However, we can probably agree that the biggest monster was that one-legged, purple-haired hybrid of Hermann Göring and Liz's Bavarian classmate Üter. It's purely subjective, but when the focus is more on experience than meaning, the former must be a bit more hypnotic.
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Rave film v2.0. Actually a lovely and sensitive work about the tangible distance from an alienated culture framed in a supremely aggressive way without going over the top. Cranking up the speakers during the film is a must, as is lynching any cinema owner who refuses to heed the creators' insistence that "This film should be played LOUD." But there is no need to fear such underhandedness from the organizers of the Shockproof Film Festival. PS: you could also interpret it as being about a girl and her pet lost in the shadow of a hideous purple-haired frog monster about to gobble up the last vestiges of goodness from the world with his gaze.
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