Connianatu
How wonderful it is to see this fine actress carry a film and carry it so beautifully.
Invaderbank
The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.
Billie Morin
This movie feels like it was made purely to piss off people who want good shows
petarmatic
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?
Horst in Translation (filmreviews@web.de)
"Kreuzweg" is the newest movie by Dietrich Brüggemann and his sister Anna. The duo already collaborated on several successful projects in the past, such as "Drei Zimmer/Küche/Bad" and "Renn, wenn Du kannst". Anna Brüggemann is also a prolific actress and plays a part in this film here as well. The film, which is also known as "Stations of the Cross" was pretty successful at the Berlin Film Festival last year and achieved several other awards and prestigious nominations since then. The lead character is played quietly convincing by Lea von Acken. She has not acted in anything else so far, but if she decides to become a professional, she may have a good career ahead. You really feel for her and suffer with her. Movies about religious life are not too frequent these days, maybe because it's virtually impossible to never offend anyone, either the Christians or the atheists.So this one made for a nice change and let me tell you, it's very critical towards religion. There are several interesting aspects about it as well. Basically the main character's fate is linked to the one of Jesus Christ and we read a quote from the bible every time a new chapter begins. This quote fits nicely what is about to happen next. Also pay attention how every chapter has no moving camera at all. It's still in one place, so every chapter takes place at a certain location and does not switch places. Also, I believe there is no soundtrack here in this film. It's all about the interactions between the characters and their actions. No music. Just words. The most despicable person in the film is the girl's mother. Even after the death of the child, she still believes, everything is the way it should be and we know she is the one where her daughter got this sick approach to giving her life prematurely to God. Her father is just there, but does not say a word as the mother is clearly the head of the family, the only one with authority and nobody dares to contradict her.The most famous cast member may be Hanns Zischler, but he only has a small part as an undertaker at the end of the film. You may have seen him in Munich. The film's heart and soul may very well be the writing. The dialogs are top-notch from start to finish, the characters' words and actions are realistic. If there is anything, I did not like about the film, it is probably the fact that her brother really started talking at the end just like a miracle. But you can probably make a point that it was just because of the extreme situation everybody was in with Maria (fitting name) was dying at the same time, ironically triggered by a piece of altar bread. This is an excellent film, one of Germany's best in recent years and I still wonder why they submitted a piece of crap like "Geliebte Schwestern" to the Academy awards with films like "Kreuzweg" as possible alternatives. Highly recommended. It's roughly 100 minutes that are as tragic as interesting to watch.
theSachaHall
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.
Ayal Oren
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.
