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download Toni Erdmann (2016) Full Movie subtitled in German

Release :2016-07-14Runtime :162 min.Genre :Comedy, DramaProduction :Arte, Komplizen Film, Westdeutscher Rundfunk (WDR), Südwestrundfunk (SWR), Coop99 Filmproduktion, KNM, MonkeyBoy, HiFilmCast :Peter Simonischek, Sandra Hüller, Lucy Russell, Vlad Ivanov, Hadewych Minis, Ingrid Bisu, Trystan Pütter, John Keogh, Alexandru Papadopol, Radu Banzaru, Victoria Malektorovych, Ingrid Burkhard, Jürg Löw, Cosmin Padureanu, Michael Wittenborn, Thomas Loibl, Ruth ReineckeCrew :Antonin Svoboda, Michel Merkt, Sebastian Schipper, Maren Ade, Maren Ade, Maren Ade, Heike Parplies, Patrick Orth, Jonas Dornbach, Janine Jackowski, David Keitsch, Ada Solomon, Ben von Dobeneck, Bruno Wagner, Viorica Capdefier, Nina Haun, Silke Fischer, Malina Ionescu, Katja Schlömer, Gitti Fuchs, Laura Einmahl, Ole NicolaisenVote Average:7.8 Count: 50Overview :Without a warning a father comes to visit his daughter abroad. He believes that she lost her humor and therefore surprises her with a rampage of jokes.Keyword :male nudityfemale nudityjokebirthday partypartywomanfather daughter relationshipfamilymale masturbationdeathdeath of motherdenturesman wearing a wigwoman directorpainted facefather daughter conflictteam buildinggerman abroaddeath of grandmotherreference to whitney houstonbusinesswomanbucharest romaniaaachen germanyreference to lidlbusiness presentationestranged daughterhumour




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Review 
What a great experience this film was. This different story is based on family relationships, and explores these at a deep level. In this great movie, it is about the relationship between father and daughter. Two very different personalities who strive to create a better relationship with each other. I will not reveal anything except that as with any difficult family relationships, so it can be both demanding and tough. This movie is long, and has been criticized for it. But not by me. Every scene is important, and the movie never gets boring or tedious. The story develops. One of the best things about the film is that it is unpredictable, that the characters will surprise and amaze. Lovely to see and experience. I would also like to highlight the wonderful role performance. I just need to see more German film after this, there is no doubt. Recommend this. One of the best from 2016. 
I love films , so I had to go watch one of the most talked about films of 2016 with all this fuss and awards going on about it.

As other IMDBers have already mentioned, the expectations were high enough , and I sort of demanded a good film. I cannot say I got that.

The story (which isn't really a story) roughly, is about a woman whose job is basically firing people off of other companies --- and her father who is bizarrely present and around her throughout most of the film , making awkward but somewhat distant jokes , supposedly to help her have a better life.

Toni Erdmann is a bizarre film for sure. Nothing wrong with that, just stating a fact. It's a film that shows us instead of telling us things. Which is respectful, elegant and admirable in a way and that's a plus for Maren Ade.

There are admirable things in Toni Erdmann , but for me there are also big flaws that reduced the overall viewing experience.

The fatal flaw to name, is the starkness and the extreme cold atmosphere of this film and all its characters. For me a film must offer entertainment , in the broad sense. Meaning that a film has to give us a variety of good things that'll "warm us". Good soundtrack , interesting and empathizing characters , a good atmosphere and locations , and of course a solid story that'll surround us and in the end win us with its charm so we'll want to re watch the film after it starts to rust in our memory.

I don't want to watch Toni Erdmann again. There was no charm that won me and so just one preview is enough. I didn't connect with the characters much , not that I don't have common things ,most of us get modern life's problems , and we have common issues with fiction characters who aren't too happy with their life. Its a safe bet. But this doesn't mean you connect with the characters as well.

Toni Erdmann felt very much like you are inside a fridge, sitting in there and viewing stuff in a cold environment. Too cold. Also it runs too long at 2 hours and 40 minutes for the particular story told. For the kind of praise it got , I expected better characters , better dialogues and in the whole a better picture.

The direction in its practical sense of camera placement and movement was mediocre and so was the photography which was pretty basic so don't expect "good pictures".

The admirable things about it, was the good acting, mostly by the father "Toni" but the daughter was modestly good as well in her role. The originality of the film's approach to the father-daughter relationship was another good thing. And lastly the film's themes and questions/problems addressed by the director/scriptwriter Maren Ade. The story had meaning behind it sure, but it was too elegant about those themes (the corporate world vs human values and what matters for modern man vs what should really matter.) These are honorable themes and Maren Ade seems like a decent person to explore and show us a few troubling things in the hope to awaken us, but as a film it was mediocre. Of course that's just my opinion, but I have to say there are some rules in Film making , and mrs Ade neglected a few of them.

6/10 
Maren Ade has created an opus which may be regarded as a universal comment on our global system where everything seems to be fine as long as economical progress is ongoing. However, we should not forget that pure progress induces dark sides as well.

"Toni Erdmann" has a great screenplay. Basically, it tells a father-daughter-story, but every sign of empathy seems to be frozen. Ines Conradi (Sandra Hüller) shows a great performance as she already did in "Amour Fou". She only lives for working and does not care much about family or emotional matters. All that counts is the progress of her career. Winfried Conradi (Peter Simonischek) interprets a loving father who only wants to spend some time with his daughter. As Ines facade cannot be broken, he starts disturbing her perfect world of rules and manners by becoming Toni Erdmann.

The screenplay does not contain many big plot points but convinces the viewer by the development of its great characters and the intelligent and often embarrassing dialogues. The audience is trapped by the society rules of this business world. Consequently, we are feeling with Ines who is more and more irritated by her father – now transformed to Toni Erdmann. He starts to shatter the stability of the system by his strange, unconventional character and jokes. The dialogues with excellent acting are so trenchant that moments of great humor are coming up.

Everybody of the business world looks strangely at Toni Erdmann when he appears but we start thinking about who is weird and crazy in reality. Is it Toni Erdmann as he is not behaving like everybody else would expect of a supposed business man? Or is it this whole community of economists which takes drugs and which feigns emotions? Maybe Eugène Ionesco can help us to find an answer. 

The film itself, most of the time taking place in Romania, only rarely shows poor people as one would assume. Most of the time we just hear about the problems of a German enterprise which has to do some outsourcing. In many scenes we can see that Ines does not really care about the people around her. She is just a representative person of the company and keeps distance. Her father, on the other hand, does not care about society rules and is able to communicate in a simple, affective way with the people of this country.

Gradually Ines is influenced by the spirit of life and the philosophy of her father as she gradually throws off her mask. What does it mean to have a life where one does not have any emotional link to his colleagues? What does it mean to see progress only but to forget that man is a social being? Even when Ines is in front of her secret lover and colleague Tim, she is not able to show any emotions.

With Patrick Orth, director Maren Ade creates a light visual style which is ideally coordinated with the actor's play. We are in a world where we cannot foresee what happens next. When Toni Erdmann appears, everything seems to start trembling. The stability of our conformist and capitalistic system is threatened by the presence of only one "strange" character. 
Maren Ade's third feature film "Toni Erdmann" (2016) has received an equal amount of tears and laughs at many film festival screenings ending with standing ovations. A maturely crafted and emotionally thought-through psychological treatise on the enduring theme of child-parent relationships, "Toni Erdmann" tells about an obsessive jester (Peter Simonischek) desperately trying to reconnect with his estranged, dead-serious daughter (Sandra Hüller) who spends more time on the phone and business meetings than with friends or family. This attempt turns into a strange play with the father devising a character called Toni Erdmann to help his daughter which will potentially result in the daughter taking off her social mask. The film is a welcome surprise from German cinema, which has lacked international acclaim for a few years, and a pleasant viewing experience as an eccentric combination of the absurd and the mundane as well as the tragic and the comic. 

The brief synopsis given above might already reveal the gist of the humor in the film, but Ade's comedy does not fall short of insight. The main source for the humor is, of course, the dynamics between the father and the daughter as well as the father's awkward maladjustment to his daughter's professional habitat. This humor, relying on the superb performances of the two leading actors, is essentially supported by Ade's restraint style varying between such opposites as a tranquil continuity created by longer takes and more classical editing of shots with reverse shots, a hand-held camera as a realist denominator and a stripped soundscape as a stylized denominator where distant and quiet off-screen sounds are almost as conspicuous as a traditional music score is by its absence, spaces characterized by cold sterility (the daughter's apartment in Bucharest looks more like a hotel room than a home) opposed to blue-collar spaces with warmer light and color. Overall, a big part of the humor takes off from the fact that Ade's ironic narrative seems to keep its distance to the father's jests and jokes. There is a seeming coldness to Ade's approach. The jokes might make the spectator laugh or chuckle, while remaining to dangle in the void against Ade's stylistic program which gives no response to their echo of quietude.

Such subtlety is perfect for Ade's themes which require both duration in time and width in space. The secrets and untold memories, the many repressed feelings and desires, covered longings and missed opportunities are psychological phenomena which by their nature do not disclose themselves which is why Ade's decision to make a longer and less obvious film is, to put it simply, brilliant. It is as if Ade's narrative picked up by chance a recurring cycle in the human life resulting in unhappiness over and over again. This cycle is treated, above all, through the theme of acting from the daughter's constant need to play someone else, so to speak, in the business world while losing her true self to her father's corresponding need to put on a show which, however, can also work as an opportunity for breaking free from the act for the daughter. 

While all this might make some accuse Ade of abandoning the social world at the expense of discussing the petty life crises of the upper middle class, it should be noticed that "Toni Erdmann" never falls short of recognizing social themes of a topical nature. The capitalist business world of the daughter's everyday life appears as distant and bleak where people lose themselves into the rat race of planning a career and the superficial mastery of the constantly changing languages (German, Romanian, English, French). The linguistic plurality correlates with existential emptiness as the words, which have been learned by heart a few weeks before important business meetings, fail to realize something real, causing one to become more and more distant from the timid shadows of one's identity. The social themes are there, but always filtered through Ade's main point of thematic focus. 

In terms of both the question of the society and humanity, Ade refuses to give us answers. If the father's fictional creation of Toni Erdmann appeared as a parody of contemporary self-help and life coach culture, Ade's "Toni Erdmann" would remain a creation without self-assured help. There is act and emancipation but no absolute resolution. Instead of such an outcome, Ade looks at life in all its, both comic and tragic, absurdity without shielding a private part or averting an eye. 
Every film is worth watching from the beginning to the end. And every rule has an exception. That is why I made about five of those in my lifetime, where I left the theater before the end. Toni Erdmann is one of those. I can almost bet that the first shot or scene can tell a lot about, and this principle proved right in this case. This is a lame film, made by a person that neither knows nor likes her characters. It is too slow paced with scenes that barely patch, and have no consequence. It is clear that the screenplay was either not workshopped, or director omitted workshop suggestions. Even blocking the scene comes as a problem, and that leads me to my next dilemma of the people who (a) financed this and (b) awarded this film with a European Oscar. Only good thing about this film is the trailer, which led me to believe that I am going to see if not a masterpiece, then at least a crafty comedy. What a disappointment! 

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