Hellen I like the storyline of this show,it attract me so much

Laikals The greatest movie ever made..!

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Staci Frederick Blistering performances.

blemschock-2 image - still and moving - digital - film - panorama - window - painting. how is the world described in photographic/image capture? who sees? framing. who is seeing? what is seen? what is shown? dreams. i am a camera. this is maybe an over extension of the metaphor, but clearly states the idea of the seer seeing. audience. and the seer showing. story through experience, not always linear or real. and always - great views of the city. great mix of language & languages. vision. so much feeling, showing and not telling. faces, moments, real, unreal... "I watch it for a little while = I love to watch things on TV" this was interesting to see in las vegas, of all the places in the world.

RResende Wenders' supreme quality as an author, to my view, is that he knows that his films are not so much about what images show, but about images themselves. This is his magic, and his curse. This is why i have a shelter in his films, and why so many increasingly misunderstand them (first reviews on this one show it will go to the same package). Wenders knows this, whenever he is making a film, he is reflecting on the nature of image, and how that affects vision, and how vision affects understanding, and how understanding affects meaning, and essence.Not few times, he addresses directly the theme, and embeds it in the plot of the film. This is such a case. Film about images. People who are about image. People who become the images they fetch. The very first scene makes it clear. It "frames" (how meaningful this word is with Wenders) a landscape, through a window of a building which is in itself all about framing. A pure volume full of square holes, all of them corresponding to a different frame, depending on moment you look, position, distance to the window. This building reflects the personality of the photographer, it is in itself a succession of frames, a closed capsule interlaced with partial views to the outside.Than we have a story about creating images. A character photographer who loses his soul because he becomes a faker, he forgets the essence, he no longer searches for a truth in the image, instead he creates his own fake truth. Fake Australian skies reflected on S.Paulo's windows, that kind of stuff. The introduction of Milla stands for this, as she is photographed 'artificially', and than transported to the "true" environment. Than the photographer retires, isolated, to a place he feels to be 'true' (a big port, Palermo means).Now the big things happen in Palermo.The woman. Her work is to recover images, it is to find the "truth" of images, it is to interpret the vision of somebody else. Those eyes of the painter, starring at the "camera", what he was seeing is what she wants to see. Check the oppositions, check how that fresco is worked on the film: detail versus global sight, understanding versus loosing the essence, long versus short. Check how the time of an image is understood. The woman takes years working on one image, the photographer produces thousands without understanding a single one.The Death. It's not the death, it's Dennis Hopper, and this matters. To see how Hopper was inserted in this project made the whole thing come clear to me, and it completed a portion of my film life that i now know was incomplete. Hopper is here the designated master framer, the man who observes life, who pulls strings (even though he is only doing his job). He is a superior agent, someone who is beyond and above all that we see. When people look at him, he looks back. He makes the record of all that, we see that, that metaphor of arrows, of "shooting" with a double meaning. So he is framed as much as he is a framer. Now, remember The American Friend. See that film before seeing this one if you can, it may strike you as 2 halves of the same idea, as it stroke me. Check how similar are the characters Hopper performs. There he was also the master framer, the manipulator behind the actions that we had. In fact he was manipulating a "framer" (literaly, a man who created frames for paintings). He used the framer as he provided the main "image". That film, which i consider essential, was all about the same game of images. Now we have an update, on how times changed (and with it changed deeply our relation to images) and how Wenders himself changed. Dennis Hopper is the connection, and his role is pivotal.Now, i believe that if you want to establish a successful relation to a creator you have to take his works for what they are. It's like loving beyond infatuation, like friendship beyond day to day chat. You have to enjoy the qualities and most important, acknowledge the flaws, and you have to live with that. That's my kind of relation with Wenders. His films in the last 10 years or so have become more and more on the verge of being an intellectual monologue, something you are supposed to sit and listen, and nod affirmatively with you head. That's something i won't tolerate with other filmmakers (Stone, Tarantino), but that i'm willing to put up with Wenders, because it matters to me what he has to say. If, like i did, you are able to put up with discursive dialogs, and the sensation that the man beyond the scenes is leading you to believe that he has the Truth, you may let this change your life. I did.A side quality you might appreciate is how music shapes the environment, regardless of the scenery. Wenders was also great in understanding this, now he does it with the aid of portable music. The music editing is greatMy opinion: 5/5http://www.7eyes.wordpress.com

fucyeah So let's sum up what this movie is about: a guy that "has a failed life"(it isn't really shown how his life is out of place they could at least made him a crack addict) that is not in touch with the world around him and goes to a small but charming(...not) Italian town and finds love, good food, old painting...and the meaning of life.So what can I say? Did I enjoy it? No. Will you enjoy it? Only if you have not seen more than 2 films in your life: one being The Princess Bride and the other being Space Jam. If so the film will strike you with it's dark images and "themes" and will leave you magnified by it's depth. Palermo Shooting was a real disaster for me so it's hard to chose where to start. The acting was pretty bad. Dennis Hopper was too lame in it. Let's not forget that this was the role that predated his performance in An American Carol so this is not exactly rock bottom. Mr. Campino (when I first heard his name I thought he was an Italian designer but now that I know that he is fronting a famous German rock band I know that he is really hip) reminds me of Macaulay Culkin in Home Alone but with cool tattoos and a nice camera. Milla Jovovich wanted to mix with THE art crowd so she decided to come and show her "magnificent belly". The others just are not worth mentioning. The story was cliché. It is a mix of The Seventh Seal, the Disney adaptation of A Christmas Carol and maybe something "wiered" like Eternal Sunshine... in the visuals(mostly the dream sequences). I watched it in a cinema and it was loud. When the film reached the point when the photographer meets the girl and she says she understands him I thought the movie will turn in to a Indiana Jones type of story and she will go on and tell him about the secret Palermo treasure guarded by the death. Such a shame it did not turn that way... The music is out of place and I must admit there are some hip tunes but they are not at all in tone with the movie.

hpark5 I watched the film in Cannes with anticipation, and great 'trepidation' at the same time( given the director's previous flop) but came out nicely surprised, as did other people that I had the opportunity to exchange views with afterwards. There was an obvious feeling that Wenders has delivered us a very special film, and one that is predominantly visionary in every way. But of course, this is not the opinion of many, who have been for a while unforgiving of Wenders and are still waiting for the next "Wings of Desire"...well folks, that 'aint gonna happen' simply because Wenders is one of those rare directors that never looks back. Maybe someone would care to notice that "Palermo Shooting" is probably Wenders' most personal and cathartic work since "Kings of The Road", and that the portrayal of a slightly impassive well known photographer( just as in the mentioned classic), who has come to a crossroads in is life falls beyond just being a coincidence, or a gimmick, but it is deliberate and mirrors more often than not Wenders himself. In Palermo, we feel to our bones the confusion and loneliness that Campino( for whom Wenders wrote this script)experiences, through the powerful and beautifully composed shots and music that follow him as he comes to grip with Palermo and his own ghosts. Wenders presents us with incredibly varied and well chosen music and introduces the very 'of the moment' use of the ipod to deliver the tracks to coincide with the central character own moves. This concept on its own is not just a clever device but a subtle social comment, at which Wender's has always been good. It says an awful lot about modern man at the cutting edge enjoying a successful professional life, surrounded by every possible gadget which help him and control him at the same time. All the props that define Campino's character are desirable, from the 360 degree rotating camera to the beautiful classic car. So, even the way he wanders through Palermo's old streets make the film ultra modern, and breathtaking. Here Wenders is in top form in the composition of his scenes and juxtaposition of cultures and ideas.One of my favourite scenes in the film is when the photographer walks into a derelict old theatre following some screaming voices. After walking through the empty corridors he arrives at the source of the screams: a heated play is being rehearsed and a man appears to be shouting to a chair that he holds at face level. The lines being shouted are not subtitled for stronger effect, and Campino takes a sit on a back bench and just soaks in(as does the audience) the entire scene: the derelict theatre, semi open to the elements, the passionate play that he cannot understand and it is so alien to his controlled self and culture....unable to tare himself away he stays until he falls asleep. The entire film is full of subtle and poignant moments and the cohesive and straight story is blended to great effect with the surreal and supernatural. The use of special effect is unprecedented in Wenders' work and here he achieves a very different type of film with the help of these, permeating the psyche of his lead and pushing him into further confusion, to the point were he cannot tell the difference between dream and reality, and were the surreal takes centre stage as the film reaches it's climax. Which points at the sheer metaphor that life is. How often do we find ourselves in situations which seem surreal and that go beyond 'coincidence'? I for one could tell a few. The story of a self centred and successful man who, after having had a near death experience,goes through a live changing crisis is is indeed not new and has been tackled successfully before, BUT Wenders goes a step forward and in a original,and comic too, way makes his character and DEATH( played to perfection by a wise old Dennis Hopper)confront each other once more, keeping his lead, and us, always on the edges of reality, in a way that is reminiscent of "Wings of Desire" indeed. He also blatantly turns death into a 'good guy' who is there to advise as much as to scare...two concepts that are just a thread apart. Death makes the photographer question his intentions, even down to the presumptuous use of his camera. So, when the man says" you shot me!"( referring to a moment when Death shoots at him with a bow and arrow from a balcony in Palermo, where the photographer is taking pictures), Death answers:" you shot me first! no one takes a picture of me!" Death's speech to the mortal is as relevant here as that which Wenders gave us in "Kings of the Road" from a frustrated son to an ageing and regretful father inside the newspaper printing workshop. I won't deny that I would've liked the film to end not too long after this point, and that I felt that we didn't really need to know about the female character's own ghosts. It could've been a leaner picture with a neater ending without this. I 'd also mention that the beginning dragged a little as Campino's trendy life in Düsseldorf is presented to us a bit too long. These are a bit annoying but can be forgiven of Wim Wenders as, nevertheless he has given us a striking, original and beautiful film.and he proves himself a true visionary once more. In time, I'm sure this will become another one of his classics. With Palermo Wenders is, as usual, on the pulse of things, he has always been a very different type of storyteller who can say as much with a few words, than without, and here he achieves both beautifully. The fabulous and original use of music combined with astonishing cinematography and pace takes us on a remarkable 'voyage'. Thank you Mr. Wenders