“Till the End of the Night” opens with what initially seems a Brechtian flourish: a nifty time-lapse shot of a bare shell of an apartment being painted, fitted, decorated and accessorized to an apparently lived-in state, as a vintage German torch song by Heidi Brühl crackles over the soundtrack. It’s not a film set being dressed, however, but a police one — the home base for an elaborate undercover investigation. It’s not the first time Christoph Hochhäusler’s romantic detective thriller will hint at subversive ambitions that turn out, upon closer investigation, to be rather conventional. Tossing a fraught transgender love story in the middle of an otherwise standard cop procedural, the film doesn’t much satisfy on either level, with superficial sexual politics and slack suspense. Despite a Berlinale competition slot, prospects beyond home turf appear limited.
What interest and ambiguity “Till the End of the Night” does...
What interest and ambiguity “Till the End of the Night” does...
- 2/25/2023
- by Guy Lodge
- Variety Film + TV
For a film that hinges on deceptions, betrayals and unexpected allegiances, Till the End of the Night is alarmingly low on intrigue. Christoph Hochhäusler’s crime drama revolves around an undercover cop paired with a trans woman on early prison release to infiltrate an online drug distribution network, their smokescreen relationship tested by his lingering feelings for the person she was before transitioning. That would seem to provide a promising foundation to explore the tricky lines of gender identity and the twisty byways of love. But this unpersuasive mishmash of melodrama and suspense never builds any steam, meaning it doesn’t work in either mode.
Hochhäusler comes from the Berlin School, the new German cinema movement of the mid-1990s and early 2000s that spawned arthouse directors including Christian Petzold and Angela Schanelec, both of whom also have new films in the Berlinale’s main competition this year. The filmmakers...
Hochhäusler comes from the Berlin School, the new German cinema movement of the mid-1990s and early 2000s that spawned arthouse directors including Christian Petzold and Angela Schanelec, both of whom also have new films in the Berlinale’s main competition this year. The filmmakers...
- 2/24/2023
- by David Rooney
- The Hollywood Reporter - Movie News
Romantic crime drama “Till the End of the Night,” which plays in competition at the Berlin Film Festival, has debuted its first clip (below) with Variety, and its poster, designed by the U.S. graphic designer Midnight Marauder.
The film, directed by Christoph Hochhäusler (“The City Below”), is a complex love story intertwined with crime and deception, starring Timocin Ziegler as gay cop Robert, and introducing newcomer Thea Ehre as trans woman Leni. The script is by Florian Plumeyer, and the producer is Bettina Brokemper at Heimatfilm. The Match Factory is handling international sales.
In order to gain the trust of a drugs dealer, undercover cop Robert has to pretend to be Leni’s lover. The police hope her ties with the felon will help him to infiltrate the organization. But while this part of the plan works relatively smoothly, their fake relationship is rocky from the start. Robert was once in love with Leni,...
The film, directed by Christoph Hochhäusler (“The City Below”), is a complex love story intertwined with crime and deception, starring Timocin Ziegler as gay cop Robert, and introducing newcomer Thea Ehre as trans woman Leni. The script is by Florian Plumeyer, and the producer is Bettina Brokemper at Heimatfilm. The Match Factory is handling international sales.
In order to gain the trust of a drugs dealer, undercover cop Robert has to pretend to be Leni’s lover. The police hope her ties with the felon will help him to infiltrate the organization. But while this part of the plan works relatively smoothly, their fake relationship is rocky from the start. Robert was once in love with Leni,...
- 2/14/2023
- by Leo Barraclough
- Variety Film + TV
The sci-fi satire is Sophie Linnenbaum’s graduation film.
Sophie Linnenbaum’s sci-fi satire The Ordinaries was one of the big winners at this year’s Filmfest München, picking up the German Cinema New Talent Award for best director and best producer for Britta Strampe and Laura Klippel of the Berlin-based production house Bandenfilm.
The Ordinaires is Linnenbaum’s graduation film from the Film University Babelsberg.
“You have to rub your eyes in amazement: this is supposed to be a graduation made at a university? The Ordinaries has what feels like a multimillion-dollar budget,” enthused the jury of producer-director Sönke Wortmann,...
Sophie Linnenbaum’s sci-fi satire The Ordinaries was one of the big winners at this year’s Filmfest München, picking up the German Cinema New Talent Award for best director and best producer for Britta Strampe and Laura Klippel of the Berlin-based production house Bandenfilm.
The Ordinaires is Linnenbaum’s graduation film from the Film University Babelsberg.
“You have to rub your eyes in amazement: this is supposed to be a graduation made at a university? The Ordinaries has what feels like a multimillion-dollar budget,” enthused the jury of producer-director Sönke Wortmann,...
- 7/4/2022
- by Martin Blaney
- ScreenDaily
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