Petra von Kant keserű könnyei

It is not completely a bad idea that the film was made as an adaptation of a play. The golden era of theater and tragedy, baroque and classicism, as if they spoke to us from the screen differently than through a baroque painting on the wall. Similarly, we can also find the protagonist of these bygone times here - a nobleman, or rather a noblewoman (Petra is from the von Kant family). Her behavior is thus a reproduction of the actions of these people: wealth and idleness (although verbally it is the opposite), arbitrary and also patrimonial, hence a personal relationship with the servants, detachment from her own children (boarding school), but also depth and tragic grandeur towards those she loves. Her demand for an equal amount of affection cannot be fulfilled by the worker Karin, who cannot give everything in their relationship because equality is necessary in a two-way relationship. In that, the main character is sincerely pitiful - as an aristocrat, she is able to give everything (and we should believe that in the film), but only if she wants to. The mirror of this relationship is the maid, Marlene, who carries an ambiguous message in the end. (2014.03.16)

No, I just didn't enjoy this. I found the film too static; so little happened in it, and the dialogues did not engage me as much as I thought and wished they would. It was definitely a bold effort to adapt theater to film, but for me, it just doesn't work very well, and I would rather watch something else, something shorter. (2015.08.27)