Protraph Lack of good storyline.

PlatinumRead Just so...so bad

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Horst in Translation ([email protected]) "Gespenster" is a German movie from over 10 years ago written and directed by Christian Petzold, one of Germany's most known filmmakers these days. Today he is mostly known for his collaborations with Nina Hoss, but she does not appear in this one here. Benno Fürmann, however, does and you could call him Petzold's muse back then as he also appeared in many of his works. Here, however, Fürmann's role is fairly small, which is fine for me as I am not the greatest fan of him as an actor. The screenplay is also by Petzold in collaboration with the late Harun Farocki, an author Petzold worked with on many occasions. So there are some familiar factors in this work. This does not really apply though to the lead actresses I believe. Julia Hummer plays the main character and the co-lead is Sabine Timoteo. And their chemistry is pretty good, which is one reason why I enjoyed the watch. But the main reason is Julia Hummer's quietly convincing turn as a young woman looking to be loved, first by another girl, then by a woman who appears to be her mother.And Hummer really does an outstanding job and she delivers all one can ask for in terms of how the character was written. Speaking about writing, Petzold and Farocki did a good job here too. The characters all seem realistic in my opinion and their interactions make totally sense. One of Petzold's big strengths is always that his character have great shades. They are all flawed, but do not tend to one side (good or bad) too much, but still many director attempt that and succeed, but then it seems just for the sake of it. However, here it feels really raw and spot-on and this makes me happy. The only aspect I did not like here was the plot twist at the very end, which seemed slightly unrealistic to me. I wish they could have kept the approach they gave the film all the time before that. No need to go out on a shocking note. I do prefer realistic endings over happy endings if these happy endings seem nonsensical and forced, but here an actual mother-daughter reunion would have been the best way to close it I think. This is maybe also the reason why I gave it "only" a ***/***** and not a ****/*****. I was pretty close to the higher rating. But this does not change my overall recommendation for "Ghosts". This was a good watch and Hummer's performance alone makes it truly worth the watch. It makes me kinda sad that she has faded pretty much completely out of the spotlight a decade later. But at least we have the greatness she left us here. Go watch it.

Andreas Jacke "Gespenster" Question of to be cool in the German cinemaThere are not many German films in the last ten years, who have made me so interest. Yes, the problem of the most German films are in this film "Gespenster" too. He is on some places to uncooked to be good to see. Special the figure of Toni (Sabine Timento) is too cool. But thats is in German films always so. Everybody must to learns this coolneß - is the realism in this films. Thats difficult to understand. But in this case it makes some sense, because she steals and she lies - she is the kind of girl is better you never love it, because you lose it. Thats not clear for the other girl Nina in this film. She love her - and she would lose her. But Nina lost everything. She will play with soft emotion and a sad feeling. There is no way - but you must take it said Herbert Achterbusch for twenty years. Thats so often the way it goes in German films. Why? Nina (Julia Hummer) is not inside of the laws of society - the is outside - and there she have no chance. This films tries not on every place to gave her a part inside. Thats one of the problems - the stupid break with conventions - the criminal fascination. Throw it all away - and go nowhere! But the actress plays this difficult part very interesting. On the other side - there the parents - who are the pendant to the two girls. The have a car - a hotel suite - the have money and live in world with music of the opera. But the film stand always in some distance to seem. There is no much explaining of them.In the center of this film, there is one scene you will never forget. The two girls got to a casting. And there they should say how they find together. In this scene Toni will lying on. She said a fantastic story-has nothing to do with her. And then Nina will say the truth. She said it in an introversion way. There is no exhibition in it. She looks to the bottom and said what will happened for here. Thats a great moment. In the next scene on the party with pictures in red this feeling is going on- than Toni goes away...Okay, The film will end - in the German way of coolneß - rubbish - here the circle of sadness is closing. But there was a moment - where is happening something else - and this moment was important. He is more than German coolneß - and this moments are rare in the German cinema in this time!

m_mckechneay I've seen this film more than once now, and there's always someone complaining about the "obvious construction" of the plot afterwards. But then - this is part of Petzold's game: he plays along with the rules of genre.It's very nice, how the highly improbable story of how the two girls (Timoteo/Hummer) meet, is again mirrored in another, even more improbable story, that the girls make up for a casting. This film is a journey between fact and fiction, it's more about potentials, things that might have happened in the past or might be happening in the future, than it is about actual ongoings. It's a reverie, sorts of - so apt enough there are a lot of motives, Freud might have found interesting for his dream analysis, like all the "doppelganger"-constellations. Also, I think, "Gespenster" might be interesting to be watched in comparison to current Asian cinema of the uncanny: Petzold's everyday urban architecture also feels haunted in an unobtrusive, strangely familiar way. This film is not about the obvious. To describe it as the story of two girls who meet and eventually become friends and lovers, or as the story of an orphaned mother, who searches Europe for her lost daughter, clearly doesn't say much about the nature of "Gespenster" at all.

two-rivers This was just another marvelous film of the Berlin Festival. But unlike "Yes", by Sally Potter, which I had seen some days before, where after leaving the cinema I felt a strong desire of wishing to embrace the whole world and was just happy to be alive, this time quite the opposite thing happened: there was something that dragged me down, and the air suddenly felt cold and hard to breathe. It was as if, all of a sudden, there was nothing left, all hope, all future had been taken away to a dead place.Nina's life seemed to be dismal and locked, but then, one lovely day, there appears that kind of luminosity that opens up the horizon and makes her believe in the fulfillment of her dreams. There was nobody at her side but suddenly she finds a companion, just out of nothing, someone who was able to share the most hidden feelings of her life. That person was Toni, a vagabond girl who does not seem to have any roots, just like herself.But the film's title is "Ghosts", and ghosts appear and disappear as they wish, there is no way to retain them… Ghosts also represent the hidden fantasies of people, strange ideas that occupy your mind and are only perceived by yourself, hiding away from all other people. Françoise, a French woman, is a victim of such ghosts. She once lost her child daughter in Berlin, who apparently had been robbed from her in a supermarket, in just one moment of inattentiveness. Now time has passed, and Françoise is back in Berlin, still looking for the missing child.Nina could be that child, after all she has got that same scar at her ankle and the heart-shaped birthmark between her shoulder blades which seems to prove her true identity.And Nina adopts that idea, after all she is not only in desperate need of a companion, she also longs for a mother. But in the end she is empty-handed, Toni has disappeared with a man, and her supposed mum turns out to be a sick woman. "Marie is dead," concludes Françoise's husband, and the statement could not be more disillusioning. Nina is just a "niña", a girl without name, there is no hope for any divine fulfillment. There is no Marie in this world to accompany our lonely lives. Therefore, in the end, we see Nina all alone, about to walk along the road that has opened up before her, into a future that seems joyless and uncertain.