The new six-part 'psychological thriller' TV miniseries "Dear Child", based on Romy Hausmann's best-selling novel, is written and directed by Julian Pörksen, starring Kim Riedle, Naila Schuberth, Sammy Schrein, Hans Löw, Haley Louise Jones, Justus von Dohnányi, Julika Jenkins, Birge Schade, Christian Beermann, Seraphina Maria Schweiger, Özgür Karadeniz, and Jeanne Goursaud, streaming September 7, 2023 on Netflix:
"... 'Lena' lives in complete isolation with her two children, 'Hannah' and 'Jonathan', in a high-security house. They eat their meals, go to the bathroom and go to bed at precisely prescribed times.
"But as soon as 'he' enters the room, they line up to show their hands. They do everything he says. Until the young woman manages to escape.
"After a near-fatal car accident, she is hospitalized, accompanied by Hannah. But the true extent of this nightmare is revealed when Lena's parents arrive at the hospital the same night. They have...
"... 'Lena' lives in complete isolation with her two children, 'Hannah' and 'Jonathan', in a high-security house. They eat their meals, go to the bathroom and go to bed at precisely prescribed times.
"But as soon as 'he' enters the room, they line up to show their hands. They do everything he says. Until the young woman manages to escape.
"After a near-fatal car accident, she is hospitalized, accompanied by Hannah. But the true extent of this nightmare is revealed when Lena's parents arrive at the hospital the same night. They have...
- 8/25/2023
- by Unknown
- SneakPeek
"Control makes us safe. Rules make us safe. Safety is the most important thing in life." Netflix has revealed an official trailer for Dear Child, a thrilling new crime series from Germany. It's not true crime, per se, but it definitely has that same kind of "true crime" vibe - Dear Child is based on Romy Hausmann's bestselling novel of the same name. After having been controlled by her captor for ages, Lena finally manages to escape – this is where Dear Child begins. But is breaking free truly liberating? Escaping captivity in a basement, a young girl and her unconscious mother are found at the site of a car accident. But their new freedom offers neither salvation nor security. The cast of this six-part series includes Kim Riedle, Naila Schuberth, Sammy Schrein, Hans Löw, Haley Louise Jones, Justus von Dohnányi, Julika Jenkins, Birge Schade, Christian Beermann, Seraphina Maria Schweiger,...
- 8/10/2023
- by Alex Billington
- firstshowing.net
Stars: Lucie Aron, Anna Brüggemann, Michael Kamp, Moritz Knapp, Birge Schade, Florian Stetter, Sven Taddicken, Lea van Acken, Franziska Weisz | Written by Anna Brüggemann | Directed by Dietrich Brüggemann
Maria, fourteen years of age, just wants to be a good Catholic. Her family is part of a fundamentalist Catholic community who try to live in a modern world whilst dedicating their lives to their religion. She wants live a life without sin, sacrifice everything for those around her and avoid the sinful temptations of the Devil. Her biggest dream is to be a saint and show God that she loves him the most. Unfortunately, her troubled family life, bullying, school and a boy named Christian get in the way of her perfect dream but even they won’t stop her from reaching her place in heaven.
Stations of the Cross is a German film which deals with radical faith and religious devotion.
Maria, fourteen years of age, just wants to be a good Catholic. Her family is part of a fundamentalist Catholic community who try to live in a modern world whilst dedicating their lives to their religion. She wants live a life without sin, sacrifice everything for those around her and avoid the sinful temptations of the Devil. Her biggest dream is to be a saint and show God that she loves him the most. Unfortunately, her troubled family life, bullying, school and a boy named Christian get in the way of her perfect dream but even they won’t stop her from reaching her place in heaven.
Stations of the Cross is a German film which deals with radical faith and religious devotion.
- 11/26/2014
- by Richard Axtell
- Nerdly
Baader
Christopher Roth's "Baader" is the worse sort of terrorist chic. Turning back the clock more than a quarter of a century, the movie traces the exploits of one of the West's first glamour terrorists. West Germany's Baader-Meinhof gang set fires, robbed banks, stole BMWs and killed people from 1967-72. Murderers that they were, there is something now almost quaint in their nonsensical actions, confused ideology, stylish dress and arrogant blunders.
But Roth makes blunders of his own. The film lacks any point of view, letting the story unfold in a pseudo-documentary style that offers neither explanations nor context. Further, the film makes no attempt to reach an audience beyond national borders. Names, dates and references will be unfamiliar to most non-Germans. So despite the world's dramatically increased interest in the subject matter, "Baader"'s insularity dooms it to limited distribution.
Roth indulges in more than a little sensationalism without giving his subject any rigorous examination. Yet even with a "neutral" approach, the movie can't help making this treacherous gang appear foolish. Whether dropping acid during kaffeeklatsches or sunbathing nude in a Jordanian terrorist camp, the Baader-Meinhof crew comes off more as feebleminded anarchists than the tough revolutionaries they aspire to be.
Yet many Germans of that era, especially students and left-wingers, admired them. The movie never delves into what inspired this admiration. Instead Roth keeps you in the cocoon of the gang and their pursuers, led by a fictional police official named Kurt Krone (Vadim Glowna).
The latter is the movie's most remarkable character. A middle-aged leftist, Krone believes in many of the things group co-leader Andreas Baader does. Only he sees means to achieve such political goals without violence. The ambivalent policeman tracks his quarry, gets inside Baader's mind and in one implausible episode shares a late-night smoke with his foe on a deserted country road.
Frank Giering does little to interpret Baader, preferring to cloak this nearly mythological figure in a cloud of tobacco smoke, sunglasses and the street strut of a car thief, which was indeed his criminal career before discovering radical politics. Laura Tonke plays his lover Gudrun as a young woman who believes that she has hooked up with the coolest dude in the West.
But it's mind-boggling how Roth ignores Ulrike Meinhof (Birge Schade), the journalist who turned in her typewriter for a gun. This is, after all, the Baader-Meinhof gang. She is the group's theoretician; Baader is simply its organizational thug. How can you ignore her?
While sticking close to known facts for most of his movie, Roth unaccountably goes for a "Butch Cassidy and the Sundance Kid" finale in which Baader goes out with guns blazing instead of his murder or suicide -- to this day most people are not sure which -- in prison.
The picture sparked condemnation from many sides at the festival for its deliberate invention and glorification of Baader. The jury's decision to honor "Baader" with an award for "particular innovation" was greeted with a chorus of boos and whistles.
In truth, Roth adds nothing to what is already known about the gang. Certainly, better films have been made about terrorism in the 1970s by such German filmmakers as R.W. Fassbinder and Volker Schlondorff.
Production values are so-so. The colors have a drab, washed-out look, possibly to emulate German films of that era. Rock numbers, including a bit of techno rock, do give an edgy suspense to the overlong and often repetitive drama.
BAADER
72 Film
Producers: Stephan Fruth, Mark Glaser, Christopher Roth
Director: Christopher Roth
Screenwriters: Christopher Roth, Moritz von Uslar
Directors of photography: Jutta Pohlmann, Bella Halben
Production designers: Attila Saygel, Oliver Kronke, Tobiaas Nolte
Costume designer: Nicole Fischnaller
Editor: Barbara Gies
Color/stereo
Cast:
Andreas Baader: Frank Giering
Gudrun Ensslin: Laura Tonke
Kurt Krone: Vadim Glowna
Ulrike Meinhof: Birge Schade
Karin: Jana Pallaske
Kurt Wagner: Michael Sideris
Running time -- 129 minutes
No MPAA rating...
But Roth makes blunders of his own. The film lacks any point of view, letting the story unfold in a pseudo-documentary style that offers neither explanations nor context. Further, the film makes no attempt to reach an audience beyond national borders. Names, dates and references will be unfamiliar to most non-Germans. So despite the world's dramatically increased interest in the subject matter, "Baader"'s insularity dooms it to limited distribution.
Roth indulges in more than a little sensationalism without giving his subject any rigorous examination. Yet even with a "neutral" approach, the movie can't help making this treacherous gang appear foolish. Whether dropping acid during kaffeeklatsches or sunbathing nude in a Jordanian terrorist camp, the Baader-Meinhof crew comes off more as feebleminded anarchists than the tough revolutionaries they aspire to be.
Yet many Germans of that era, especially students and left-wingers, admired them. The movie never delves into what inspired this admiration. Instead Roth keeps you in the cocoon of the gang and their pursuers, led by a fictional police official named Kurt Krone (Vadim Glowna).
The latter is the movie's most remarkable character. A middle-aged leftist, Krone believes in many of the things group co-leader Andreas Baader does. Only he sees means to achieve such political goals without violence. The ambivalent policeman tracks his quarry, gets inside Baader's mind and in one implausible episode shares a late-night smoke with his foe on a deserted country road.
Frank Giering does little to interpret Baader, preferring to cloak this nearly mythological figure in a cloud of tobacco smoke, sunglasses and the street strut of a car thief, which was indeed his criminal career before discovering radical politics. Laura Tonke plays his lover Gudrun as a young woman who believes that she has hooked up with the coolest dude in the West.
But it's mind-boggling how Roth ignores Ulrike Meinhof (Birge Schade), the journalist who turned in her typewriter for a gun. This is, after all, the Baader-Meinhof gang. She is the group's theoretician; Baader is simply its organizational thug. How can you ignore her?
While sticking close to known facts for most of his movie, Roth unaccountably goes for a "Butch Cassidy and the Sundance Kid" finale in which Baader goes out with guns blazing instead of his murder or suicide -- to this day most people are not sure which -- in prison.
The picture sparked condemnation from many sides at the festival for its deliberate invention and glorification of Baader. The jury's decision to honor "Baader" with an award for "particular innovation" was greeted with a chorus of boos and whistles.
In truth, Roth adds nothing to what is already known about the gang. Certainly, better films have been made about terrorism in the 1970s by such German filmmakers as R.W. Fassbinder and Volker Schlondorff.
Production values are so-so. The colors have a drab, washed-out look, possibly to emulate German films of that era. Rock numbers, including a bit of techno rock, do give an edgy suspense to the overlong and often repetitive drama.
BAADER
72 Film
Producers: Stephan Fruth, Mark Glaser, Christopher Roth
Director: Christopher Roth
Screenwriters: Christopher Roth, Moritz von Uslar
Directors of photography: Jutta Pohlmann, Bella Halben
Production designers: Attila Saygel, Oliver Kronke, Tobiaas Nolte
Costume designer: Nicole Fischnaller
Editor: Barbara Gies
Color/stereo
Cast:
Andreas Baader: Frank Giering
Gudrun Ensslin: Laura Tonke
Kurt Krone: Vadim Glowna
Ulrike Meinhof: Birge Schade
Karin: Jana Pallaske
Kurt Wagner: Michael Sideris
Running time -- 129 minutes
No MPAA rating...
- 2/27/2002
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.