Friday, February 17, 2017,
- Location: Belcourt Theatre
Dir. Maren Ade |Germany |2016 |162 min. |R |DCP
Introduction by Lutz Koepnick, Gertrude Conaway Professor of German, Cinema and Media Arts at Vanderbilt University. (Opptional post-screening discussion in Jackson Education and Engagement Space (limited seating).
Participants who commit to checking in with the FLiCX administrator by no later than 8pm, and to being seated prior to the introduction, may RSVP in the right-hand column (once registration is enabled) for tickets purchased by the Dean of Students office.
Since seating is limited, we must remind participants of the following:
- that if you RSVP in the affirmative, and your plans change, you are expected to log back in and change your status to "not attending;"
- that Vanderbilt participants must RSVP for themselves, and may not be "guests;"
- and non-Vanderbilt guests are limited to one per participant.
When Winfried (Peter Simonischek), a retired piano teacher and divorcee who delights in persistent pranks, pays a surprise visit to his estranged daughter Ines (Sundra Hüller), a high-ranking management consultant in Bucharest, the cringe-inducing clash of opposites that takes place that weekend would be enough to fill a conventional comedy. But “Toni Erdmann” is just getting started—and Ines is game to meet the challenge. In the hands of director Maren Ade (Everyone Else), a potentially typical tale of redemption becomes something wholly original and affecting. Taking its time in drawing the captivated viewer ever closer to its fully conceived characters, Toni Erdman wholly earns the reputation that precedes it as one of the most talked-about films on the major festival circuit this year.
“A slow-burning thing of beauty, ultimately as moving as it is implausibly funny…[a] blend of subtle social observation, bawdiness and absurdity.” —Leslie Falperin, Hollywood Reporter
“Ade and her actors attain a cleansing yet conflicted sense of emotional release through a series of wild, nervily sustained comedic set pieces that lay the characters bare… Like all great humanist filmmaking, [it] keeps an eye out for life at the edges, even when the lives in focus consume a whole lot of energy.” —Guy Lodge, Variety