Im Lauf der Zeit

Too long by far but with some really intriguing moments. Thematically, it jumps around a lot... in a way, it's as restless as its protagonists. Rudiger Vogeler is very watchable as Bruno, all laid-back cool and charm. Robert is a less compelling character, although a more nuanced one. The film has a lot of empty space, both narratively and geographically. Sometimes it evokes a mood and sometimes it falls flat. For the most part, the film is satisfying if not quite my cup of tea.

Probably the most laid-back film ever made. The length is a challenge, but I kind of loved it for its low-key comedy and the quiet loneliness of its inhibited characters, aesthetically captured in the use of empty, open and confined spaces, reminiscent of both Ozu and later Robby Müller-collaborator Jarmusch.

Modestly comic, compassionate and tragic. Reminiscent of how Jarmusch emphazise silence in his meditations on human behaviour and interaction, Wenders let the mise-en-scène, framing and editing do the talking. This is some attentive and elegant stuff by a director with an earnest if somewhat subdued empathy towards his lonely characters, suggesting their quiet turmoil in the face of the overwhelming difficulty of communication.

growing up in the Jackass era, seeing a man poop can't express vulnerability to me, is neither artistic nor transgressive. It's just gross. One of the good ones in that arthouse genre of road movies, drifters running from burnt out pasts with no vision of a future. Hanns Zischler in the Criterion extras calls them men "in need of a sort of epiphany experience". And Lisa Kreuzer notes, with a tinge of lament, "It was a men's story."

I'm somewhat torn about this one. Ultimately it has some genuinely incredible moments, but it takes at least half of it's bloated running time to get to any of them. Consequentially the film seems much better in retrospect than the sometimes tedious experience of watching it did. Surprisingly, much of it feels like a somewhat redundant thematic and aesthetic reiteration of what Wenders had already done in Alice in the Cities with perhaps a bit of foreshadowing of Paris Texas thrown in.

An excellent early Wim Wenders movie. Great acting, dialogue (although there's not much of it, all of it is good), framing and use of spaces -- both confined ones and open ones. The movie manages to make points about love, loneliness, restlessness, desire for freedom, the Americanization of German culture, and much more. 170 minutes gets to be a bit too long for my impatient mind, but there's no specific part I'd definitely cut out given the chance.

Intriguing on the whole, but the very little that happens in this 3-hour long road movie, while interesting, is just not exciting or insightful enough to cover up for the general boredom. I hope I didn't contradict myself too much. I can dig the comparison to Antonioni because of the sparsity and all, but it just doesn't sweep one off one's feet the way Antonioni films do, it doesn't have their flair or their wisdom.

The camerawork and the music create a great mood piece, though the conversation is often banal and the philosophical moments comes off as silly.

It seems like the missing link between Antonioni and Jarmusch. Yet, besides the spectacular photography, I found very little of interest in this. It's less graceful and more mundane than Wenders' other movies. Maybe as a consequence, I found it less immersive. I didn't care as much for the characters as I did in Alice for example. (needs a rewatch)

Kadıköy Sineması.

The best (and last) of his German road films trilogy, it's both intimate and monumental, the culmination of his interest in alienation and human relationships, and a sneakily moving experience. Basically it's the story of people who try but can't connect to each other, always telling stories when the other one's not listening, having transient, fleeting relationships with passengers that quickly leave off (or kill themselves). It's very much like Antonioni, but with a bigger heart.

Perhaps the most personal of the 3. Wenders manages to keep you around on this melancholic road that pays off with its subtle philosophy about life.

The grouping of these three as a trilogy is fascinating because all three take such different approaches to the road genre. The final entry is arguably the most pure road movie of the three, drifting from idea to idea at a pace that truly conveys the vastness of the German landscape. The loosely episodic nature means some parts are inevitably worse than the others, but the best scenes are staggering. "Life is all there is."

Agree with user Larmor’s sentiment about it being “the missing link between Antonioni and Jarmusch.” For me, this is some of the highest praise you can give a movie. Has to be one of the coolest movies I’ve ever seen. Sweet, subdued, and profound. Dreams upon the limitlessness one can feel with an infinite stretch of road ahead and time to paint it with.

No Decurso do Tempo estreava há 45 anos no Festival de New York. É um belo filme sobre a morte do cinema, coisa que se discute há meio século e ele continua aí firme e forte, mas uma frase que segundo a Lisa Kreuzer foi escrita pelo notório misógino Peter Handke quase estraga a experiência toda do filme: "me sinto sozinho dentro de uma mulher", dito por um personagem que só ama homens, só respeita homens, só ouve homens, torna a coisa quase intragável. Box OP Trilogia da Estrada (gr

03.20 Ümraniye

Slow but mostly interesting road movie. The characters are very well drawn and interesting, but it started losing me a bit after the first two hours or so. I think a shorter version of this might have been significantly better, but even at its length, almost three hours, there's a lot worthwhile in here. In addition to the characters, the photography is very good as well. There are some great moments, but it takes some time to get there.

Robert Lander: "Everything must change. So long."

was starting to lose me in the middle when the characters/dialogue were becoming annoying, but they won me back over by the end. Alice in the cities the best of the road trilogy imo, but lots of beauty here too and nice music.

both criterion pieces (one of them by michael almereyda) capture this one nicely.

Slow and contemplative and very captivating. These characters are really nice to be around and the film's relaxed atmosphere is good for sitting back and thinking about life.

Didn't really earn its runtime imo. Maybe if there was more pooping...

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masterpiece.

#307

A little bit too long and too thin, but nevertheless very enjoyable

Excellently understated and subdued road movie where the silences mean more than the sparse dialogue.

# 284