The director and actress discuss schadenfreude, the elusive laffs-to-pathos ratio, and more.
By its end, Maren Ade’s Toni Erdmann is a work of laser-guided social critique and a comedy.
Maren Ade possesses as fine an instinct for calibrating the emotions of her characters as any working director.
If nothing else, the film is a terrific example of a minimalist style employed with near-maximum effectiveness.
Now, to be clear, Inception, which makes the juggled alternate realities of Back to the Future Part II seem complicated in comparison.
The San Francisco International Film Festival is nothing if not facilitative of staunch personalization.
Ade’s film is an instant contender for the pantheon of breakup movies.