Regie:
Denys ArcandDrehbuch:
Denys ArcandKamera:
Guy DufauxMusik:
Pierre AviatBesetzung:
Rémy Girard, Stéphane Rousseau, Dorothée Berryman, Louise Portal, Dominique Michel, Marie-Josée Croze, Marina Hands, Roy Dupuis, Micheline Lanctôt (mehr)Inhalte(1)
17 Jahre nach dem Meisterwerk "Der Untergang des amerikanischen Imperiums" versammelt Regiezauberer Denys Arcand seine damaligen Helden erneut vor der Kamera - und sie erweisen sich zwar als alternde, dennoch überaus virile Herrschaften Weil der ehemalige Geschichtsprofessor und Sozialist Rmy demnächst den Folgen seiner Krankheit erliegen wird, eilen der ignorante Yuppie-Sohn Sbastien, sowie Exfrau und Exgeliebte an dessen Krankenbett. Sbastien, vom Vater "Prinz der Barbaren" genannt, zieht sich ob seines kapitalistischen Lebenswandels zwar täglich dessen Schimpftiraden zu, ermöglicht Rmy jedoch durch die Beschaffung einer täglichen Heroin-Dosis und anderer Annehmlichkeiten einen entspannten Abgang. Arcands zwerchfellerschütternde und dennoch zu Herzen gehende Familienfabel ist Weltgeschichte "put in a nutshell". (Verleiher-Text)
(mehr)Kritiken (2)
The contradictory evaluation of this film is due to the theme of aging, dying, and balancing life, which is inherently distant for most FilmBooster users due to their age. Moreover, the genre in which Arcand operates, psychological drama lightened with a series of tragicomic moments, cannot be as much of a box-office hit as classic entertainment genres. Some objections to the film are indeed valid. It does feel like a TV film and is based on dialogue, which means that the visual aspect falls behind. Not to mention that, given the intellectual focus of most characters, some of their debates slide into unproductive and disconnected conversations, which the director and screenwriter try to use as one of the satirical jabs. Additionally, some of the motifs used, such as searching for heroin at a police station, are really "out of place" and seem to have come from another film from the crazy comedy genre. On the other hand, if one accepts the subject matter and the given situation, the film is truly an impressive look at a dying person and their loved ones. In a way, The Barbarian Invasions can be used as a metaphor for the entire contemporary Western world, where ideas of continuous progress and advancement, solving fundamental societal problems through ideologies, etc., are dying. The professor, as a staunch leftist, who devoted a significant part of his life to promoting various "isms," at the end of his journey is confronted with the desperate condition of state hospitals full of bureaucracy, incompetence, and corruption. His son has to bribe his students to come and visit their teacher, thus providing him with the illusion of interest. The man, who prides himself on his knowledge of culture and literature, must bitterly witness the fact that his offspring, who has not read a single book in his life and spends time playing video games, earns more in a few days than he does in a whole year. Essentially, it is an interesting film with decent performances, and if one overlooks the aforementioned flaws, they will be rewarded with a decent experience. Overall impression: 75%.
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Ein recht angenehmer und relativ origineller Film, aber gleichzeitig mit dem universellen Thema der unüberwindbaren Mauer zwischen einem langsam sterbenden Vater und seinem Sohn. Der Film bietet nichts Umwerfendes, aber ich habe mich immer wieder dabei ertappt, wie ich bei Szenen verweilte, in denen alte Freunde in Erinnerungen an ihre Abenteuer schwelgen oder eine Freundin des Sohnes eines sterbenden Vaters mit dem Vater eines Freundes kifft. Ich halte den Film für sehenswert und bewerte ihn mit 7,5 von 10 Punkten.
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