Grosse Pointe Garden Society - (Mar 10th)
The Equalizer - (Mar 10th)
90 Day Fiance- Pillow Talk - (Mar 10th)
The Baldwins - (Mar 10th)
Signs of a Psychopath - (Mar 10th)
Filthy Fortunes - (Mar 10th)
The Righteous Gemstones - (Mar 10th)
Evil Lives Here - (Mar 10th)
Tracker - (Mar 10th)
Watson - (Mar 10th)
GRAND SUMO Highlights - (Mar 9th)
90 Day Fiance - (Mar 10th)
Naked and Afraid - (Mar 10th)
Home Town Takeover - (Mar 10th)
Tournament of Champions - (Mar 10th)
The White Lotus - (Mar 10th)
Match of the Day 2 - (Mar 10th)
Cóyotl, Hero and Beast - (Mar 9th)
Countryfile - (Mar 9th)
Snapped- Killer Couples - (Mar 9th)
Lynn Oona Baur's 'Manchmal Denke Ich Plötzlich an Dich' proves to be an impressive cinematographic achievement that both deeply touches and challenges the viewer. The film captivates with its complex and multi-layered narrative style. In this work, Baur almost establishes an independent genre within German cinema, which could be described as "German New Nordic Film". The film critically questions how rarely films capture the true essence of northern Germany. 'Manchmal Denke Ich Plötzlich an Dich' manages to portray the people in a respectful and honest way, far from clichéd depictions. Although certain similarities to works by Nordic directors such as Kaurismäki, Trier or Vinterberg can be recognised, Baur avoids any form of exaggerated self-presentation that is often found in the work of these filmmakers. Instead, her work is characterised by an almost restrained narrative art. The story is characterised by a constant ambiguity that captivates the viewer. It is never clearly defined what is to be considered "good" or "bad", rather the ambiguity of life is celebrated in every scene. Baur uses an elliptical narrative style to transport the viewer into a world full of uncertainties and ambiguities. Baur's directorial debut, 'Manchmal Denke Ich Plötzlich an Dich', is a gripping, intense and powerful cinematic experience. It pays tribute to the North and its inhabitants, explores motherhood in a modern way, thematises parenthood and tells the story in a loving way. With this film, Lynn Oona Baur succeeds in presenting an impressive debut and at the same time making an important contribution to German cinema that redefines the nature of cinematic storytelling.
Lynn Oona Baur's 'Manchmal Denke Ich Plötzlich an Dich' proves to be an impressive cinematographic achievement that both deeply touches and challenges the viewer. The film captivates with its complex and multi-layered narrative style. In this work, Baur almost establishes an independent genre within German cinema, which could be described as "German New Nordic Film". The film critically questions how rarely films capture the true essence of northern Germany. 'Manchmal Denke Ich Plötzlich an Dich' manages to portray the people in a respectful and honest way, far from clichéd depictions. Although certain similarities to works by Nordic directors such as Kaurismäki, Trier or Vinterberg can be recognised, Baur avoids any form of exaggerated self-presentation that is often found in the work of these filmmakers. Instead, her work is characterised by an almost restrained narrative art. The story is characterised by a constant ambiguity that captivates the viewer. It is never clearly defined what is to be considered "good" or "bad", rather the ambiguity of life is celebrated in every scene. Baur uses an elliptical narrative style to transport the viewer into a world full of uncertainties and ambiguities. Baur's directorial debut, 'Manchmal Denke Ich Plötzlich an Dich', is a gripping, intense and powerful cinematic experience. It pays tribute to the North and its inhabitants, explores motherhood in a modern way, thematises parenthood and tells the story in a loving way. With this film, Lynn Oona Baur succeeds in presenting an impressive debut and at the same time making an important contribution to German cinema that redefines the nature of cinematic storytelling.