Das Ende ist erst der Anfang

A Bouli Lan­ners film. in french with ger­man sub­tit­les.

Esther and Wil­ly are han­di­cap­ped. And in love. And on the run. Perhaps from Gilou and Coli­se, two bur­ly, bear­ded snoo­pers in the van who are try­ing to get a fix on Willy’s mobi­le pho­ne? Or from the man who calls him­s­elf Jesus and has the stig­ma­ta on his hands to pro­ve it? Or from the men from a near­by wareh­ouse who are sear­ching for the per­pe­tra­tor who has vio­la­ted the wife of their boss? And who is the mum­my in the slee­ping bag? Set in a spar­se European land­s­cape dis­sec­ted by elec­tri­ci­ty pylons and roads, Bel­gi­an direc­tor Bouli Lan­ners’ film is a weird­ly beau­ti­ful­ly late wes­tern in which roughnecks show their soft side and the fact that two peop­le belong tog­e­ther is sym­bo­li­sed by their wea­ring of high-vis jackets. Ter­seness meets love, vio­lence meets faith. Micha­el Lons­da­le cul­ti­va­tes orchids and the incom­pa­ra­ble Max von Sydow as a priest sings a fare­well song to a corp­se. Lan­ners, who also plays a lea­ding role, direc­ts with a talent for sur­pri­se and exci­te­ment. The film hides clues about the plot in buil­dings, cars and in the dia­lo­gue. And anyo­ne who thinks they have figu­red out the sto­ry after five minu­tes is wrong.

OT: Les pre­miers, les der­niers
Frankreich/Belgien 2016, 98 Min.,

Regie, Buch: Bouli Lan­ners
Kame­ra: Jean-Paul de Zae­y­tijd
Schnitt: Ewin Rycka­ert
Dar­stel­ler
Albert Dupon­tel, Bouli Lan­ners, Suzan­ne Clé­ment, Micha­el Lons­da­le, David Mur­gia, Auro­re Brou­tin, Phil­ip­pe Reb­bot


on screen with ger­man sub­tit­les