User Reviews

Stations of the Cross is one of a handful of films from 2014 that feel the deliberate touch of perfect artistic craftsmanship. Whiplash, Birdman, 10.000 Km and A Most Violent Year are probably the only others that come to mind. Here there isn't a hair out of place, a line too many, nor a beat skipped. Thusly, it all depends on how you connect to the material. I'm not religious and I rarely come across evangelists, but religion is always a fascinating topic for cinema as it reaches to the depths of humanity and metaphysical places we can't possibly understand, as Ingmar Bergman frequently explored in his films. Contemporary cinema has become so secular that we don't often see films that focus on religion so Stations of the Cross has a fresh slate when it comes to bringing the ideas and meanings of Catholicism to the 21st Century.

The concept of the film centres on Maria's attempts to make sacrifices to appease God. She forgoes basic necessities like food and warmth from her jacket much to her also strictly religious mother's chagrin. It makes you think about the temptations and pleasures we take for granted everyday. What if you had to sacrifice them? Nobody would be in heaven if that was essential. But heaven isn't the goal - the film looks further. Maria is in pursuit of sainthood, and intends to save her baby brother. It brings up fascinating ideas of a guilty admittance of the ego influencing desires for sainthood that I'd never even considered. It brings the themes back down to earth in a deeply human and flawed way. It is a cold film in its approach, but it still has its endearing qualities.

The film moves at a satisfying quaint pace and scale for the first hour, but then it takes the perfect fateful trail to its bitter end and it's equally devastating and thought-provoking. Is this religious fanaticism what God wants? It's an extreme example, but the film doesn't hold back on ideals. Lea van Acken is extraordinary, giving a vulnerable and mature performance far beyond her years as the 14 year old Maria. It's easy to marvel at her endurance for those long takes. But it's Franziska Weisz as her mother who constantly bites back that gives her the perfect board to bounce back from. With its stunning use of mise en scene and rich economy always feeling like it's ripe for cinema rather than the stage, Stations of the Cross is one of the year's essential films.

8/10

This exceptional movie graphically illustrates what religious indoctrination does to the mind and thinking of a child and is about as far removed from the Biblical manifestation of the LOVE of God as it's possible to get. Based on Catholic theology, the story follows a teenage girl's idealistic pursuit to get to heaven by achieving religious purity through self denial and repression. Her devout mother rules her family with an iron fist never passing up an opportunity to denigrate and poison her daughter with barbs of criticism and verbal flagellation. Her father is depicted as weak and hen-pecked into a state of total submission. Inevitably this results in a predictable breakdown for the vulnerable young girl and is heart-breaking to watch. Yet, this is a compelling, almost necessary, story that is extremely well written and superbly acted by all the players. This is well worth watching whatever faith or background you come from.

I saw this film at the Berlinale 2014, as part of the official Competition. When reading the synopsis on the festival website, I was afraid at first that the chosen format of 14 scenes with a still camera, numbered and named as per the 14 Stations of the Cross, would effectively work out as a sort of harness. We've seen that many times before, when the format takes over and the contents suffers. Very soon, however, I was put at ease with the opening scene "1. Jesus condemned to death". I could not do anything further than eagerly await the rest of this wonderful film.

This initial 10-minute scene foreshadows everything that is to follow. I can say that now in hindsight, since the full extent of whereto this drama is heading, will be gradually handed over in bits and pieces in later parts. The central character is 14 years old Maria, but her hard-lined mother is also a key figure in the drama as it enfolds in 14 distinct scenes. The role of the father figure is next to negligible (even the french au-pair had more lines than he had).

Aforementioned first scene shows a priest with a group of 7 boys and girls, sitting around a table, talking about the essentials of what their further life will entail being a true Catholic. They are together in preparation for the sacrament of Confirmation, from which moment on they are expected to stand up for their faith, and to defend it against everything that deviates from the Ten Commandments and the Seven Sacraments, and to further uphold everything else advocated by the Catholic church before Vaticanum II (1962 to 1965). A very clear explanation is given about day-to-day practices, essentially resisting all temptations that are laid on your path by Satan. Another topic is bringing small sacrifices, like not eating a cookie, even when tempted while it seems so harmless. Other forbidden fruits are pop, jazz, soul and other such "modern" (not my words) music styles, allegedly all based on rhythms invented by Satan.

Main character Maria belongs to a Catholic family of hardliners, members of the Congregation of St Pius XII, practicing the very traditionalistic teachings of this congregation. Aforementioned opening scene makes perfectly clear that Maria is very prepared to take her faith seriously, including the small sacrifices that may bring her nearer to a good place in heaven. In the second chapter, where the family is walking through a park, she considers her coat and sweater as a luxury and takes them off in spite of the cold weather. She also refuses to smile when family pictures are taken. More such things happen, but she does not explain herself. She succeeds in annoying their mother, and thus unwillingly destroys the happy family atmosphere. We see this mother later on as having a firm hand in the religious upbringing of the children, while the father lets it all pass without interfering.

Apparently a side role but his importance becomes evident later on, is Maria's little brother who has not spoken a word since his birth. We get some hints that illnesses and handicaps can be "given" to us as a retribution for our sins, or to challenge the strength of our faith. Gradually Maria gets obsessed with the notion that she can trade her life for the benefit of her brother. She ignores everyone saying such a calling lies in the hand of God, and no one can decide that for himself.

Each and every scene that follows further portrays the mutual relations within the family, as well as how Maria interacts with others like school mates. The gym class scene may serve as a perfect example. Maria retracts while there is music played she deems belonging to one of the "Satan invented" categories. That is what she tells to the teacher to explain why she does not participate. One of her class mates makes a joke out of it when he subsequently refuses to run in circles while "forbidden by my religion". Others are more constructive by bringing up the notion of tolerance against other beliefs, indeed a good point to make in such circumstances. Exactly like the opening scene, this gym class scene serves as solid proof that a still camera need not be an obstacle for a vivid scene.

Not all chapters, however, go neatly along with their respective titles as literally derived from the 14 Stations of the Cross. A few times we feel an inherent shortcoming of the chosen format, being a very good find as a basic idea but the concept shows a few spurious cracks. Nevertheless, it did not hinder me too much, not feeling as a harness when considering the final product overall.

Strong performances by Maria as well as her hard-lined mother make this film into an indictment against any too fundamentalistic belief, whether it regards Islam, a protestant denomination, or Catholicism. Tolerance is the key word here, as rightly brought up by one of Maria's class mates. It cannot be that a strict interpretation of religious laws, or the rules imposed by whatever church, are extended to others being no members of that faith. Believers must allow room for other opinions. Strict adherence laid upon outsiders is always a bad thing, regardless of the good intentions of these religious laws. It can lead to extreme actions, demonstrated by Maria in later chapters of this wonderful film. If anything, it offers food for thought (but no solution) how to deal with people who go to any length to impose their beliefs on others. They probably do that with the best of intentions, but the side effects are worrisome. Some people may find that this film has turned religion into a caricature, uncalled for, but I don't think so, especially when reading the newspapers where we read about religious extremism all over the world.

Not many films get rated 10 by me, this one did. Because on top of being a perfectly told story: acting, cinematography, plot and anything else I would wish to find in a film. It's also speaking cinema. The film speaks with camera movements - yes there are almost no camera movements and when they do come they're hardly noticeable, but when they do arrive they speak volumes. They tell us the story and how the director feels about it. With finesse and mastery of his media rarely found in modern cinema. I don't want to overlook the superb acting, mainly the two leads - Lea Van Acken with a gut wrenching performance as the innocent and deeply religious Maria. And Franziska Weisz as her horrible fanatic mother who remains nameless. All the others do their share without a single false note. Such masterpieces are the reason I go to cinema festivals, finding two within two days made this year's Jerusalem Film Festival a success as far as I'm concerned. Look this one out and watch it, I couldn't recommend it highly enough.

But it also can be seen as something completely different. The movie juggles both worlds and it actually succeeds in it. Also having found kid actors who fit the story and the way the movie is made is more than incredible. Obviously the religious tones might sound scary for some enlightening for others. What you make of it, will boil down to what you believe and what you see.

While that is up to the viewer to decide and there are some clichés you have to go through to get to the finale, the movie does so in a special style. It's one set up per scene, which means the camera man seems to have the easiest job of his life. Set the camera, roll and let the actors do the rest. As you can imagine the scenes are a couple of minutes long, so not only did the actors have to learn their lines thoroughly, they also had to perform in one take! Not an easy task indeed. If the camera were ever to movie it would have a huge impact ... but does it and if so what is it telling us? You'll have to watch this very intriguing project and make your own mind up about things ...

I went to movies yesterday at Cinehoyts La Reina and Kreuzweg was being played for SANFIC (Santiago Festival International de Cine) in Chile, so i bought a couple of tickets and watched it with a friend of mine.

I had never read or heard anything about this movie before, so i didn't have any good or bad expectation before getting into the cinema.

The movie shows us religious fanaticism as it's most absurd. It really reminded me part of my childhood, when i went until the age of 10 to a protestant school in Santiago de Chile, where teachers said that Iron Maiden was the most satanic rock band in the world or things like that, i remember they said once that even Elton John was a satanic artist xD. Well this film shows us some very similar situations, and maybe for someone who has never experienced it, might believe that this only happens in movies, but, i lived it and i know it, there is lots of this religious fanatics in many schools and families.

The movie is split in 14 chapters, and they tell us about Maria a teenage girl who is about to get her catholic confirmation. The church she is part of, is a church which refuses to be like modern churches, and it considers a sin everything related to modern music, television, social networks, parties, etc, etc... At the beginning of the movie, the priest advised Maria and other students that if they want to get the goodness from God they have to make some sacrifices. Maria got convinced that she had to make a sacrifice in order to get a miracle from god, but she took the advise a little bit too far.

One of the things that really got my attention from this movie, was that the camera isn't moving at all (it just moves a few times and it's almost not noticeable for the viewers).

I'd suggest you to watch it, but don't expect a very good movie, i rated it with 7 stars out of 10, i mean i liked it, but i'm not sure if i would watch it again soon.

First of all, I'm English and don't speak German. I had to rely on the subtitles. And the film is very dialogue heavy. However, in my opinion this is a very interesting and thought provoking film concerning strong catholic beliefs and the strains of teenage angst. Probably not everyone's cup of tea but I enjoyed it and it kept me thinking afterwards.

"Stations of the Cross" (2014 release from Germany; 110 min.; original title "Kreuzweg") brings the story of a strongly religious Catholic girl named Maria. As the movie opens, we see Maria and five other young teenagers getting a last lesson from the local priest, in preparation for their Confirmation, now just a week away. In the next scene, we observe Maria and her family taking a stroll in a park, and it becomes clear very quickly that there are serious tensions between Maria and her mom, who seems to rule the family with an iron fist. What will become of Maria? How will the tension with her mom play out? To tell you more would spoil your viewing experience, you'll just have to see for yourself….

Couple of comments: first, the movie is highly stylish, and for an unusual reason: the movie is brought in 14 chapters, paralleling the 14 stations of the cross that Jesus encounters in his final days and hours. Each of these 14 scenes is brought in a single take, and all but two chapters (late in the film) are filmed with a fixed camera angle. Sitting through the first chapter (with the 6 kids getting Confirmation class), I had no idea whether this movie was going to appeal to me. Literally nothing happens. Then the next chapter comes, and the one after that, and slowly you start to realize that you are watching a harrowing family drama set in a highly conservative Catholic family where any sign of modernism is loathed. The Second Vatican Council reforms are flat-out rebuked, and instead 'old style' Cathlolicism is sought at every step in life. Meanwhile young Maria is trying to find her one path, all the while trying to get her stern mom's love and approval. As it happens, I grew up in an all-out Catholic environment in Belgium in the 60s and 70s. A number of scenes in the movie brought back memories I hadn't thought of in YEARS (such as when I had my Confirmation in 1972). The film features a towering and heartbreaking performance from Lea van Acken as the young Maria, leaving you to shake your head in disbelief, and let's not forget Franziska Weisz as Maria's mom, playing about as unlikeable a character as I've seen in a long time. Kudos to director and co-writer Dietrich Brüggemann for bringing us this highly original, if tense, family drama. I wish we'd get more movies of this caliber more often.

"Stations of the Cross" was released in the US by the good folks at Film Movement, which over the years has released a tons of great foreign and indie movies that otherwise would never have seen the light of day in the US. As usual, the DVD comes with a bonus shortie, and this time it's an 11 min. film from Germany called "One Shot" which director Dietrich Brüggemann made to great acclaim before he had a chance to make "Stations of the Cross". Definitely worthwhile checking out as well. Meanwhile, "Stations of the Cross" is HIGHLY RECOMMENDED!

Religious dramas are pretty uncommon in movies these days. I am guessing this is on account of this being a highly contentious subject which is tricky to bring to the screen, while serious studies of the subject tend to only appeal to a small demographic. Not being religious myself, I was a bit wary when approaching this one and wasn't entirely convinced I was going to like it. So, it was a pleasant surprise for me when I discovered that Stations of the Cross was a very engrossing film indeed. The story follows a teenage girl from a fundamentalist Catholic family who simultaneously tries to meet the strict demands of her faith while dealing with her more human desires. The events occur during the highly intense period when she prepares for Confirmation.

Ultimately, this film warns of the destructive potential of organised religion, in particular religious extremism. In this instance the fundamentalists believe in old school Catholicism which disregards any forms of modernism. They espouse a view that popular music and social media are satanic and personal sacrifice is to be encouraged. The film opens with a scene where a priest teaches young teens that sometimes death is better than moral failure. When I watched this opening scene, it did educate me in matters pertaining to religious practise and belief, yet it also reminded me how absolutely none of it makes the slightest bit of sense to me. It is detailed and ingrained yet highly absurd and illogical to me.

The movie itself is divided into fourteen chapters, which seemingly tell of the various 'Stations of the Cross' that detailed Christ's path to crucifixion. These scenes are dealt with cinematically in a manner which is simultaneously extremely minimalistic yet very bold. They take the form of fourteen long single takes, with all but three featuring static camera shots from one angle. It is a very austere method, yet the form accentuates the content and never feels for its own sake at any point. The intensity of the drama is enhanced by these extended takes and the serious tone of the material amplified. By the very nature of this approach, this calls for strong acting and excellent acting is what we certainly get here. Lea van Acken puts in a beautiful performance as the highly sympathetic tragic central character of Maria; it is a very mature turn from a teenage girl and highly effecting. Franziska Weisz is the other significant presence as her fundamentalist mother; a frighteningly monstrous character whose blind intolerance drains the life and vitality of all that surrounds her.

All-in-all, this one definitely qualifies as a very powerful bit of cinema. It challenges yet engages, has interesting things to say and does so using a very bold presentation. Definitely one to take a chance on.

Shrewdly transmuting Jesus's Via Crucis to a young girl Maria's (van Acken) self-inflicted martyrdom in the modern-day Germany, STATIONS OF THE CROSS is strictly told in 14 long shots, each represents one station, from "Jesus is condemned to death" to "Jesus is laid in the tomb".

Admittedly, it is an ingenious concept to take a critical eye on the contentious issue of today's Catholic religion, the efficient modus operandi requires its cast to be superlatively attentive to their lengthy dialogues and sermons, but who are the target of this film? If you are an atheist or agnostic, it is absolutely a waste of time to watching this film, because Maria's radical act is beyond your ken and can only infuriate yourself with the demonic tyranny from Maria's mother (Weisz), whose frantic devotion to her parochial belief makes her such an unapologetic monster, there is not enough rueful tears in the world can suggest otherwise.

If you are a committed believer, don't watch it, you can easily be offended by the demonisation of the orthodox church, director Dietrich Brüggemann is sadistically trying audience's patience to let such a diabolically written character take every predictable turn to terrorise her daughter, and get on the nerves of the viewers without any reservation.

And if you are religion-curious, the film will prove itself to be an equally nonstarter since it eventually straddles the issue with an arbitrary brush to conveniently coincide a miracle which ineptly countervails the prevailing condemning slant, to simply mythologise the matter in question as if the filmmaker is suddenly stricken by misgivings and has no more courage left to abide by his belief. What kind of a mother would bring her four-year-old son with her when she visits the ICU under such context? This action is as groundless as the miracle itself, a fatal betrayal in Brüggemann's conception which is beyond redemption at that point.

Finally, in Maria's case, her self-professed sacrifice is practically a perverse suicidal mission, even if God does exist, how on earth dare she take it for granted that her so-called sacrifice is approved by God? If that is the shortcut to heaven, a massive hunger strike might sound perfectly advisable for devotees who cannot wait to join him in Elysium, it is just loony and irresponsible, that's it, enough is enough, this film is a self-contradictory mishmash, and my only condolence is to its competent cast, they must rehearse a great deal to accomplish each scene of stations, only all their collective effort fritters away in the disappointing end product.

Of the over 300 films I watch a year this stands out as superlative - meticulously crafted and thought-provoking. The way it uses only its modest static camera and small ensemble to address very big issues: theology, sin, spirituality and abuse, anorexia, consent to treatment , you name it it's packed in here. For me most moving are the searing religious resonances and of course the Christian theme from its contemporary perspective. This ranks with the superb Krzysztof Kieslowski's Dekalog series in gut-wrenching poignancy.

And it's not quite so simple as being about spiritual abuse and other forms of bullying, nor Is it merely about just cranky religious cults, and it's not a simple rejection of the existence of God. But it is in a way all that too at the same time. There's an uneasy agnostic ambiguity behind the deliciously dark humour. It is funny at times, but horrified half-laughs only came for me, until the film ends with a quirky almost facile gesture. The minimalism means the occasional camera moves are breathtaking to encounter, as is movement of the actors. The film manages to deliver a serious philosophical punch with a feather pillow, the blow leaving much to take home to nurse in thought and perhaps prayerful thought.

The young girl is spellbinding as with her character's mother. So much is a left implicit in the acting - the strident priest in the beginning becomes a lot more difficult to read in one of the dramatic end sequences. As mentioned it doesn't shout as it shocks - the characters speak volumes by simple steps to the back of shot, or slipping in and out of frame.. In a tightly wound intense way it is like a play, but the filmic realism is still there and essential, comprising one of a host of elements that makes this such a nicely formed and profoundly moving work of art.

I have to admit that the mere mention of words like Catholicism and Stations of the Cross, particularly in the same sentence, makes me want to turn heel and run in the opposite direction. As a catholic, I spent my early childhood at church every Sunday morning, praying up and down on my knees (hurting) on old wooden kneeling benches, hearing service in English (and Latin) all whilst staring at 14 paintings of…you guessed it… the Stations of the Cross, positioned equidistant from each other along both sides of the church. I was taught (*coughed* 'indoctrinated') by old school nuns in habits and remember making up the strangest sins to confess at confession (I failed to share Milo with my brother…a lot).

And yet, one can't help but be drawn in by the form, technique and understated beauty of Dietrich Brüggemann's (MOVE, NEUN SZENEN) moving painting STATIONS OF THE CROSS. Powerfully constructed into 14 fixed angled long shots, 12 of which are static (meaning the camera stays in a single position), each shot is its own chef d'oeuvre. The setting within each frame along The Way from 'Jesus is Condemned to Death' to 'Jesus us Laid in the Tomb' exude pious restraint, allowing the actions and catechistical dialogue to convey Maria's (Lea van Acken) youthful conflictions regarding her love for God, her family's fundamentalist beliefs and its place in modern society.

In the week leading up to her confirmation in the puritanical 'Society of St Paul', protagonist Maria finds herself increasingly anxious and examining as she tries to find a balance between living up to the mature expectations of her extremist faith, pressures emanating from home, and the ridicule she endures from classmates over her religion. She decides to follow the path Jesus took and give up her life for her three year old brother Johannes who has never spoken a word.

As she traverses her Way, she 'Falls for the First Time' when she meets fellow school student Christian (Moritz Knapp) who invites her to attend his choir practice at a different congregation. Flattered by his attentions, Maria decides to withhold certain details from her controlling and virtuous mother (Franziska Weisz) who would be aghast over the singing of soul and gospel music that she believes contains 'Devil rhythms'. Becoming increasingly burdened by her wrongdoing, Maria confesses her transgression to her priest who relieves her of her venial sins, due to her innocent mind and unknowledgeable heart.

Instilled with the dogma sin – confess - repent, Maria returns to her enlightened path, eschewing Christian's attempts at friendship and the use of 'Devil Rhythms' in her gym class (this particular scene is an entertaining relief in an otherwise austere and reflective film).

I won't enlighten you on the rest of her journey in the hope that you engage yourself in this complex yet rewarding story. The film takes a realistic position in its observations of fundamentalist religion and the devastating affects it could have on innocent minds if left unguarded. Van Acken is compelling as Maria whilst Weisz is particularly thrilling in 'Jesus' Clothes are Taken Away' when Maria's doctor challenges her maternal competencies.

STATIONS OF THE CROSS is a hidden gem worthy of much greater traction than what it will undoubtedly receive. An art-house film at its finest.

You can catch more at my Twitter handle theSachaHall and The Hollywood News.

When I saw the reviews for this film I expected more then I received. Although nicely imagined, plot did not deliver what I expected. I found it a little bit unrealistic that case like this can be found in a modern day Germany. Of course, like most of European film makers, this film maker concentrated on a case which is more rare and not a regular occurrence. It is an exception in the modern Germany rather then the rule. That is what actually bothered me throughout this film.

Acting was very good short of excellent.

Like any film which deals with religion, this film also enters the realm of fanatic believers. In this case it is the Catholic faith. When will they make film about ISIL so we can see what a true fanaticism truly is?

'Stations of the Cross' tells the story of the life and death of a young, and very religious, girl, by analogy to the 14 eponymous icons of Jesus's death that are typically displayed in a Catholic chuch; the point is further made by framing the story as 14 scenes, each filmed with a static camera. At first, the movie seems boring, in part because of the lack of camera movement; but as we get to know the characters, it becomes an increasingly intense, and occasionally moving, experience. What is less clear is the exact purpose here: a denounciation of an austere Catholic sect, and a mother figure devoid of the capacity for love, are clear, but the idea that evil can lurk behind claims to be good is scarcely revolutionary, and the absence of any trace of humanity in the film's most monstrous figures is a weakness. In places it reminded me of 'Breaking the Waves', but without any of that film's playfulness.

It was surprisingly an amazing movie. Related to the religious thing, but science had a fair amount of display in the narration. You don't have to be religious to watch this film. You know I enjoyed the movie as a subject that portrayed in a conflict manner. In the end, whatever happen or wins are the best conclusion for a cinematic story. The contents are supposed to be the path the human walked through the past 2000 years, not on the interest to raise the issue. The film was clear on the matter, that is how the movie had the upper hand to receive respect everywhere.

The story was told in the multiple episodes. The story deals on the basis of the each episode's title that I can clearly say it had something to do with the Christian faith. Because it follows the same order. Since I don't belong to any, it became a study material. From the introduction to the conclusion, it was well maintained pace, that is slow. But in the middle, I was almost drifted away from my concentration. Somehow managed to hold back my position like I always do and finished watching it by liking it very much.

You can take the movie and its contents in many angles. It is up to you, but either way the movie succeeds in balancing and revealing the facts. Leaves you make your own verdict, because you know what's right and wrong being a human to believe in religion or in science, which both were the creation of ours. Sometimes these both do not require to understand life, just like the animals which survived alongside us for very long without civilization revolution, religious faith and proper law and order. The point is the one who understands the life and those who don't bother about knowing it, lives better than being confused between the line and seeks the shelter of religious.

An easiest camera work for the cinematographer. All he has to do was to place the lens in a right position and that's it, the rest would be monitored on the television screen where the director seated, I believe. Because there is no camera panning except in a couple of places, other than that it was motionless and the characters appears in the front to perform. The cast has to memorise the lines of those scenes that covers up to non-stop 10 minutes.

"My religion has put a ban on running in circles in a gym."

More like a stage play where setting for one frame (view) is always there and keeps changing for each scene with the different backgrounds what the script demands. My initial thought was, it might have been based on the play, but I still don't know the answer to that. Probably not, because it won an award for the script at the Berlin film festival. Yep, I loved the presentation, it was so cool and beautiful.

From this what I have learnt was the involvement of minors in the religious ceremony is kind of inhumane. It's okay to teach them, but some rituals and sacrifice are way beyond acceptable. Those innocent minds have no experience of the difficulty of life, they're yet to explore it. Being poor or someone in the family is very ill should not be the reason to force them to take part. It is the great issue in all the religion. I think physically and mentally affecting take part in the religious ceremony must not be allowed for the underage.

I had mild doubt over opting it to view in the earlier, but went for it to refresh from my regular kind of cinema and it did not fail to have my full attention, well I managed, did not I? I am happy I tried to have a different cinema, in fact the filmmakers given the distinct one, so I appreciate them. In the todays world, young film fanatics are addicted to either Hollywood/British or Korean films, but there are plenty of hidden gems in front of us that they're neglecting to have a glimpse. I would recommend this for the adults, they need to watch this more than children and young adults.

7/10

Many will avoid this film for religious reasons, which would be a shame, because in the end it is not so much about religion (in this case, conservative Catholics in Germany) as childhood, innocence and idealism, and the psychopathology of mental cruelty. Maria is a devout Catholic awaiting confirmation and like many young adolescents, deeply idealistic and principled. This would be fine but she has a cruel, controlling mother (whose motivation is shockingly revealed at the end), and the combination is deadly. It is engrossing and heartbreaking and not completely implausible. One wonders whether the director is being autobiographical but it will be a revelation to many that Catholic orthodoxy of this kind still prevails in parts of rural Germany. The film's other triumph is that it never judges, only observes, so there is nothing to offend a conservative Catholic here. That won't stop anti-Christian elements seeing the film as a denunication of religion, of course.

Another mis-understanding of the schismatic and excommunicated "Congregation of St Pius XII" which is NOT a Catholic organisation. Rejecting the reforms of Vatican II, this group (which includes Mr. Mel Gibson who builds her own churches!) considers all Popes after Pius XII invalid and heretics.

Other than that, it is a solid movie but without the "Catholic" stuff, it would me nothing.

The construction of this film perfectly demonstrated the integration of form and content with its division into chapters reflecting the stations of the cross.The use of single shot sequences attempted to complete this structure with a fly on the wall technique reflecting the realist script/acting style. A recording of the effects on a young girl of religious extremism. Where I found a shortfall in the film was in the use of such extreme belief in modern Europe.No doubt there are many such believers,whether Christian,Muslim,Jewish or any other religion. But it is in the ordinary, everyday influence of the church that ,it seems to me, most influence is seen and bypassed in drama because it is not so viable for dramatic usage in film/television. For example, the values taught in schools and reinforced in mainstream media as norms for being a "good" or "successful" member of society can have severe effects on young people,and throughout life. For mainstream writers/media the ordinary is a no go area.And yet it is here that millions and millions of people live in a world inhabited by, and constructed out of , religious belief. My criticism of this film,then, is that it suffered the fate of the story teller..be it soap opera on the Telly or film for the pictures....."make it dramatic...go for the extreme...the real world is too mundane".

The movie is well done but, for me, very hard to watch.

It's hard to believe parents can be so allround stupid.

It's also hard to believe priests can be or are so wrong about humanity.

The movie is frustrating to extremes, makes me angry.

I left the Catholic faith when I was twelve. This brilliant film brought it all back. Once a Catholic priest called me a heretic when I asked him who made God. How amazing it was to see it all come back. Brilliant.