62/100

The banality of swindle. Virtually every moment of this 71-minute feature is flatly transactional, the exception being occasional interludes (notably the opening and closing scenes) in which random characters recount events similar to those depicted here as memories of half-remembered movies that sound notably more exciting than anything we see. Even the climactic arrest—not a spoiler, there's zero suspense—couldn't possibly be more mundane. Visually, too, Schäublin favors antiseptic rigor, often shooting at a distance that suggests the vantage point of a security camera (though his compositions are more elegant than that, with an emphasis on geometry; one walk-and-talk slowly traverses all three of the orthogonal axes). The result is so placid as to be oddly disturbing, seeming to place the entire country of Switzerland somewhere on the autistic spectrum. This approach obviously has some built-in limitations—one is more intrigued than involved—but it tugs at certain dimly felt reservations about modern society in a way that conventional drama probably can't.

This movie might seem a bit dystopian and pretentious, but that's just because it takes place in Zurich.

52 Filme von (52) Frauen – 2020 №44/52

Mit viel zu langen, kommentarlosen Standbildern, Gesprächen über Handytarife und wirr hereingeworfenem Zahlen- und Buchstabensalat wird die Story, die auf ein post-it passt (Enkeltrick), auf tristgraue 70 Minuten gezogen... und meta muss es natürlich auch noch sein.
Sicher so gewollt, aber die Intention und Botschaft hat sich mir überhaupt nicht erschlossen :/

"Uf wiadaluaga!"

Very, very Ruben Östlund circa 2011, except it would have been better.

switzerland:
- people complaining about medical insurance
- grey weather
- people scamming old ladies by saying that they're their granddaughters and in need of money (seriously, this happens a lot in switzerland and it's a real problem here)

alice in surveillance-capitalist wonderland

absurdist, slow, with a hint of irony; the film depicts the reality of the modern day western world, a world where numbers; wifi passwords, banking codes, passport serial numbers and the prices of phone subscriptions are the only things that matter. a world where all is grey and cold, almost dystopian. this is one of the most realistic films ive seen in a while hhhhh

Dry procedural structure here at once facet and failing, the crux of the film's quietly humourous take on the (inevitable?) lack of empathy in the digital age and the tonal remove that makes its observations seem all too unremarkable. But my goodness can Schäublin frame; such are his compositions you almost feel there's much more to this sly, sad story of the ease of disengagement.

Equal parts Bresson and Ruben Östlund, though it doesn't quite reach their heights. The Brutalist shot composition feels unmotivated at times, but when the film gets it right, it gets it very right.

A movie I appreciated more than I enjoyed. I just wish it was more focused.

Silvan Hillman’s work on this film is jaw dropping. It’s like he plucked the idea of “perfect cinematography” directly from my psyche and manifested it here. The film itself is okay, it kind of drags and doesn’t quite make its point, but visually it’s on par with Zal and Lenczewski’s work on ida and Cold War. If you’re into intentionally flat compositions and the eerie, brutalist reframing of urban landscapes, you can’t afford to miss this.

WE LIVE IN A SOCIETY. Und zwar in einer sehr oberflächlichen.

Ignoring the usual and trivial anticapitalistic satire, it was a nice movie.

52 Filme von (52) Frauen – 2020 №44/52

Mit viel zu langen, kommentarlosen Standbildern, Gesprächen über Handytarife und wirr hereingeworfenem Zahlen- und Buchstabensalat wird die Story, die auf ein post-it passt (Enkeltrick), auf tristgraue 70 Minuten gezogen... und meta muss es natürlich auch noch sein.
Sicher so gewollt, aber die Intention und Botschaft hat sich mir überhaupt nicht erschlossen :/

"Uf wiadaluaga!"

[...] never did human psychology reach such a height of phoneyness. Our awareness seems to shrink in direct ratio as communications expand; the world is open to us as never before, and we walk about as prisoners, each in his private portable cage.

The Nightmare That Is a Reality, 1944

rewatch on social distancing context.

if anything, scarier than ever.

King Cyril Schäublin made the funniest/cruelest dystopia two years prior reality made its big fucking joke. This films is GREAT.

absurdist, slow, with a hint of irony; the film depicts the reality of the modern day western world, a world where numbers; wifi passwords, banking codes, passport serial numbers and the prices of phone subscriptions are the only things that matter. a world where all is grey and cold, almost dystopian. this is one of the most realistic films ive seen in a while hhhhh

The composition and tones of the shots make an aesthetically pleasing film that lacks of narrative substance and emotional engagement. I wouldn't necessarily declare this very different approach of filmmaking as a failure but it's definitely not meant for every audience and can spark boredom and unease for some.

I actually think the final scene was hilarious as it sums up quite well how the Swiss most frequently perceive Germans.

Die Bilder sind grau und eintönig. Die Gesprächsthemen sind fehlendes Internet, neue angeblich viel billigere Versicherungen und Filme von denen man die Namen vergessen hat. Außerdem lauern überall Betrüger. Wenn man Dene Wos Guet Geit schaut, fragt man sich wie man diese Gesellschaft eigentlich Tag für Tag aushält.

if alienation was a movie this would be it

Cyril Schaublin veers into the heart of capitalism with a hypnotic vent, veering into the insides of the financial ridden parades of Zurich side-streets. Here, in his directorial debut, the filmmaker depicts a greyer, sadder city consumed with economical prowess. The ungainly Alice (Sarah Stauffer) operates within her call centre, phoning elderly women, to pose as their perpetuated granddaughter. The film takes a chastened liking to numerical and digital codings, motifs made from wifi passwords, bank sums and cross-codes. They reveal a society reliant on capital and technology. There are few flickers of emotions. When Alice comes face to face with those she has stolen from, there is no triumph, there are no tears. There’s just vacancy.

www.dmovies.org/2018/11/30/those-who-are-fine-dene-wos-guet-geit/