AV Club's 100 best films of the decade thus far.
While on a Mediterranean vacation, a seemingly happy boyfriend and girlfriend find their connection to one another tested as they bond with another couple.
The unspoken dissatisfaction boiling under the surface of the main couple in Everyone Else is vastly more understandable to me than most forms of lack. They are not only dissatisfied with each other, but with themselves (and everyone else). It's a defiance of the world, a suffering of fools and frustrations that goes as unspoken as it goes spoken. It's spelled out as Gitti speaks of jumping out of windows and Chris champs for something more in his career. It's an acknowledgement of the potential that is so hard to tap into.
The couple in this film that stands in for "everyone else" is my nightmare. Newly pregnant, obnoxious, vapid people who are ostensibly happy together but offer nothing to…
Second viewing, no change in rating. Still as complex and heartrending as the first viewing, with the performances, script and direction all perfectly and beautifully calibrated to delivery a complicated portrait of a relationship in turmoil. This time around, however, the title and its full import struck me even more (perhaps I just wasn't paying enough attention the first time), so much so that the shift from the first section, which focuses almost entirely on the couple alone, to the introduction of the second couple, is felt even more deeply. (Single most cutting line: "You're so embarrassing.") It's an emotionally raw, but entirely rewarding two hours. I look forward to whatever Maren Ade does next.
It's rare that a drama swings from one end of the emotional spectrum to the other so quickly and so often without being all over the place, but this one works. It's a very clear-headed film that makes no compromises to any needy audience. It really has a lot to say even though it's whispering nearly the whole time. But it's very much worth listening to.
Pretty raw....almost too raw to really love. Certainly admirable.
Relationships be tough. This one experiences a real rough patch during a summer holiday in Sardinia. While the tension is very realistic, it's a bit uncomfortable to watch at times. My general sense while watching this was that this couple was pretty mis-matched. Gitti seems to reach this conclusion as well towards the end of the film. But are they really? I don't know--Gitti and Chris do have a certain connection, they do have affection for each other, but at the same time their personalities seem wildly different, with he being rather aloof and introverted and she being more outgoing and spontaneous. The film wisely leaves the issue unresolved.
Memo to self: Watch more German movies. I really enjoyed listening to Birgit Minichmayr speak German. Also, you never know when a Herbert Grönemeyer song might turn up.
This German drama follows the highs and lows of a young couple as they share a vacation in Sardinia. Director Maren Ade said she found inspiration in Ingmar Bergman and John Cassavetes. A lot of the film is about the conversations and the minutiae that go into a relationship. Not for those with a short attention span, but there were some moving parts.
Enjoyed the slow and relaxed pace, some nice long and slow scenes that really felt like a window into their world.
In "Everyone Else", there are extended excerpts from the lives of the couple shown through an unexcited lens. There are moments where director Maren Ade just freezes the moment and watches them sleep, or shakes things up and watches as they slowly fall out of love with one another. It's something that's been done before (a mumblecore playground), but not with such a slow-burning authenticity. It's amazing how, throughout the duration of the film, the two leads almost never really seem to argue with one another - and yet it's supremely felt that their days are seemingly dwindling down... or, at the very least, going through a difficult change neither of them are prepared for. It's the ultimate resolution that we await; and that Ade rightfully doesn't further explore beyond some simple questions is remarkably beautiful.
Wie Petzold ohne Gefühl, Präzision, Sex, Haltung und Zigaretten.
What a bizarre and disturbing movie. That final scene, jesus fuck.
"Alle anderen" was introduced to me through the warning of a famous German TV host, who said that she got into a bad fight with her boyfriend after watching the film together.
That must be a piece of film! I thought.
And it is. The story and portrayal of the characters hold a huge surface of identification for the viewers. It can work evenly as a mirror for one's own relationship or as a negative: within a european society, as a hetero couple, as talking about kids and so on, many people may have faced some of the lines or action shown or told in the movie.
The movie is great. And was one of the most intense I ever watched. No score, not much talking, only hidden insecurities, aggression and blaming.
Watch it with friends, not with you significant other. And do not watch it all alone by ourselves. You can't bear it!
Pretty raw....almost too raw to really love. Certainly admirable.
I don't really care for this kinda thing. See also: We Won't Grow Old Together.
What will make or break this German drama for you is how much you like this couple and therefore their relationship.
This film reminds me of Blue Valentine in that you get to see through long, detailed exchanges with the couple in regards to their love (or hate) towards each other. To sum it up the guy is typically a condescending asshole and the female always whining about how she wants to be better for him. With his balding hair and average sized penis, combined with him sniping at her at times, I spent the entire film wondering why she didn't just tell him to fuck off.
This fact prevented me from fully getting into the film. 3 stars.
Chris and Gitti, a sensitive couple with little discernible ambition, come apart during a lazy vacation in Sardinia, though their dissolution isn't the result of violent flare-ups so much as personal insecurities and deep-seated passive-aggression. In synopsis, Maren Ade's second feature sounds like the sort of low-budget relationship drama we've come so accustomed to forgetting in recent years; and, indeed, its opening stretches look out over a great pitfall of solipsism. But EVERYONE ELSE displays rare patience and its insights are well worth waiting for. It becomes apparent, for instance, that this seemingly aimless film is actually moving at a pace unique to its main characters--who, like many newly-serious couples, operate on their own time, governed in part by libido…
Scout Tafoya of Roger Ebert.com assembled a list of the "Greatest Films Directed by Women" over on his personal blog.…
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…