Past Thanks to God , the very beautiful film by the French François Ozon (cocorico), the competition was purring nicely. If the Mongolian Öndög , Wang Quan’year, could seduce thanks to its steppes gorgeous, her heroine voluntary and malice, the result was disconcerting.

The Ground Beneath My Feet, , Marie Kreutzer? The portrait of an executive woman of thirty years old, consultant, work addict, whose sister was schizophrenic makes yet another suicide attempt and upset (a little) the routine is relentless. A kind of Toni Erdmann without the humor nor the genius of its filmmaker Maren Ade. Out Stealing Horses , Hans Petter Moland? An adaptation of the novel by Per Petterson. The story of a man (Stellan Skarsgard) who remembers a summer spent with his father in the mountains at the border between Norway and Sweden. The death of a child, the betrayal of the father, the nazi occupation… All of it is chopped menu by flash-back, incessant, a voice-over-invasive and ends up looking like a slime indigestible. Good luck to the distributor’s reckless or unconscious, who will dare to bet on these two films.

serial Killer misogynist and an alcoholic

Necessarily, after that, The Golden Glove had to put in a good mood. Yet the name of Fatih Akin has little enthusiasm for a moment. It is necessary to believe that the director of Head-On of the golden Bear in 2004, has hit rock bottom with In The Fade , a melodrama obscene with Diane Kruger in a widow for vengeance against the neo-nazis, and, rather than continue to dig a preferred rise to the surface.

The Golden Glove is the opposite of In The Fade : a film unpleasant, that does not seek to please, to the image of his main character. Akin is inspired by the true story of Fritz Honka, a serial killer in Hamburg in the 1970s. The man with the physical pushing (nose crooked, rotten teeth) is a pillar of the bar Zum Goldenen handschuh (The Golden Glove), in the district shady St Pauli. This is where it pays of glasses of the old women lonely before you bring him home, hut an infamous decorated with pictures of naked women. Helpless, Honka (Jonas Dassler) eventually kill them and cut them into pieces.

” READ ALSO – Fatih Akin: “My films are too disturbing”.

Akin does not film everything, but it shows enough to not tone down the violence of the psychopathic misogynist and an alcoholic (one thinks in particular of a scene strangulation impressive). Unlike a Lars Von Trier, Akin never seems to enjoy the show, and her gaze is never complacent. The best scenes are probably those in the bar. A court of miracles populated by poivrots and mugs frightening. A face of Germany less endorsement than that of the economic miracle.