Bresson comes to mind of course in the formal approach; Schanelec has always cited him as an influence, and now that for the first time she uses montage and shorter sequences it's even more obvious. What hit me the hardest, though, was that, story-wise, it's like a devastating variation on Rohmer's A Winter's Tale - that ending particularly. Best film of the year, easily.
Also watched (not on Letterboxd):
Jun 16: Das Tanztheater der Pina Bausch. 25 Jahre Tanztheater Wuppertal (1998, Christiane Gibiec) - 7/10
Jun 16: Das hat nicht aufgehört, mein Tanzen... Pina Bausch im Gespräch mit Eva-Elisabeth Fischer (1994) - 6/10
Jun 16: Pina Bausch'la bir Nefés (2005, Hüseyin Karabey) - 7/10
Jun 17: Coffee with Pina (2006, Lee Yanor) - 7/10
Jun 18: Der Fensterputzer (2001, Peter Lindbergh) - 7/10
All you need for a movie is a gun and a girl, as Godard is commonly misquoted. I for one would have been content with Freya Mavor's freckles and those big glasses. But okay, the car is cool too. The gun however complicates things so much that Joann Sfar spends ten minutes near the end to explain and recap the plot in a manner that pretty much ruins the film. A pity, because otherwise I really enjoyed this.
Man, all those reviews I've read beforehand, with their dutiful Vertigo comparisons (which aren't wrong), lulled me into expecting some genre exercise. They didn't prepare me in the least for a film of such quietly seething anger. Even Barbara seems cozy compared to this. I'll have to revise my 2014 Top 10 now.