SCHERZBOLD PAPA VS. BUSINESS TOCHTER Winfried möchte mehr Zeit mit seiner Tochter verbringen nach dem sein Hund gestorben ist. Die ist allerdings permanent beschäftigt da sie ein hohes Tier in Bukarest ist und dort wichtige Aufgaben sowie Entscheidungen treffen muss. Ihr Vater passt da eben nicht in den Zeitplan, daher verkleidet sich Winfried und betritt als Toni Erdmann die Geschäftswelt. Toni Erdmann von 2016 geht ca. 162 Minuten und ist ab 12 Jahren freigegeben. Wir haben hier eine Dramödie, mit Sandra Hüller in der Hauptrolle, der als bester fremdsprachiger Film für den Oscar nominiert war. Ich frag mich persönlich wieso, gehöre aber auch nicht zum Komitee, denn für mich war das hier nur ein langer Businesstrip in dem ein alter Mann mit falschen Zähnen Unfug von sich gibt und das dann als Humor verkauft. Die Handlung beginnt in dem wir Winfried dabei zu sehen wie er den DHL Boten veralbert, danach beerdigt er seinen Hund und reist spontan nach Bukarest um seine Tochter zu besuchen und sie zu fragen ob es gut geht. Der geht es natürlich nicht "gut" im eigentlichen Sinne, denn sie hat Stress, ist nur am Telefon und muss sich permanent als Frau doppelt durchsetzen. Sandra Hüller als Tochter ist der Anker dieses Films, denn sie ist interessant und kann auch noch singen. Was kann die Frau bitte nicht? Peter Simonischek als Winfried bzw. Toni Erdmann war mir ständig zu anstrengend, da kann ich seine Tochter verstehen. Seine Witze sind nie lustig und seine Taten fast schon übergriffig. Das Finale bringt nackte Tatsachen und Erkenntnisse über denn Sinn des Lebens, na herrlich. Am Ende bleibt ein Werk das nie wirklich schlecht ist, aber mich einfach nicht bekam weil nichts interessantes passierte. Die Schauspieler sind alle gut und die Figuren nachvollziehbar. Leider war die Figur Winfried/Toni absolut nicht meins. Von mir bekommt der Film 5,5/10 Punkten. Sich den Arsch auf zu reißen um von Bukarest nach Singapur zu kommen ist nicht leicht wenn der Papa über Tote Schildkröten eines Geschäftspartners spricht.

My favourite movie! I love it so much, everything about this movie is perfect. Bravo, Maren Ade!

Brilliant film, poignant and memorable. Hilarious at times, with a wonderfully eccentric lead character of a father stalking his adult daughter for her own good, something most parents secretly wish they could do. Superb acting and writing.

an exceptional movie

1001 movies to see before you die. I watched it in German, so I may have misunderstood some of the intricacies since I am not completely fluent. It still was an interesting film with the father putting himself in his daughter's successful life in Romania. I'm still not sure I agreed with many of the bizarre lessons / morals though. RUS.

Yes the movie is hilarious but its complexities run deeper than the brilliant cringe comedy. Ade seems to be diagnosing not just her main character's problems but all of Europe's as well.

TONI ERDMANN regularly appears on best comedies lists, but beyond a few dry chuckle-worthy moments, it's just not that funny. The film is a character study and a relationship drama, sure, where dad humor is used with a certain desperation in a belated attempt to connect. But even exempting any comedic expectations, and welcoming the non-Hollywood pacing as an initially-refreshing existential meditation on life's ineluctable sadness, it all amounts to a nearly 3 hour sentimental slog.

Amazing film; fiercely touching, gently moving, cruel and funny, absurd and sensible, all in one master piece. Hueller's performance is completely out of any normal human's reach; that singing scene; what a beauty. One of those movies that hit your heart and mind so badly that you're not the same person anymore.

Wasn't sure about a nearly 3 hr-long German drama/comedy. The further into the film, the more I was sucked into it's world. The tenderness of a dad trying to be more connected with his daughter was remarkably written and acted.

Only one funny scene. Not even much drama, except lame drama. Relationship between father and daughter? Who cares? A snoozer. Favored by critics trying unsuccessfully to appear erudite.

I found this quite amusing. Its not permanently laugh out loud funny but there are some pretty funny scenes and it focusses on social awkwardness, primarily for the career focussed daughter, Ines, so if you don't like cringe-y moments then this may not be for you (the comedy is sometimes slapstick in nature). Its fair to say she finds herself having to deal with a father who is a practical joker, a tease of sorts, which doesn't necessarily go down well when she's with important colleagues and clients. I enjoyed this film. I was surprised there was so much English present actually as I'd assumed it to be primarily German but there are a number of scenes featuring people representing companies who speak English, so perhaps if your curious about watching foreign language films, this is a half way house a bit, as its not exclusively in a foreign language? (perhaps a third of the film is in English, something like that) having said that, I can't not point out that it is a long watch at almost 2 and three quarter hours long but I certainly enjoyed it and didn't find myself feeling keen for it to end anytime soon, which means its a pretty good film in my book. The karaoke scene was particularly funny and memorable, I thought and by the very end, it was even surprisingly poignant. I would recommend this film, yes.

What the fuck did I miss? Why is this movie critically acclaimed when it spends almost three hours saying virtually nothing of importance, has no sympathetic characters, and isn't even really funny? It gets a couple stars because some of the emotional scenes that do work work very well and most of the directing is unique and powerful. Other than that, this movie is a total slog. The characters behave illogically and seemingly randomly (and if it's not random, fucking tell us what they're thinking instead of just showing them staring out the window for three minutes). Some scenes are frankly bizarre and none of it seems to add up to anything. The movie resorts to having the main characters just fucking spell out the message of the movie verbally, which is basically the only time the movie has any message at all. I guess I could recommend this movie to anyone who likes to be bored? What the fuck, man.

I didn't understand the point of this film, unless one retitles it "How not to behave", or "You don't get to choose your parents and they can embarrass you and what do you do about that?" If neither of the two main characters behave logically, rationally, or sensibly, does the movie itself make sense or serve any useful purpose? If it doesn't, why give it to the public? What is it trying to say? The daughter mostly avoids commenting at all on her father's antics despite the fact he is jeopardising her career: this isn't realistic. The movie is so extreme as to be stupid; to find it not to be stupid is to be pretentious. (One particular instance of male nudity should also have denied it a 15 certificate.)

Un de mes films favoris. Relation père-fille Fatigue des blagues incessantes de son père et en même temps une tolérance et une cohabitation parait se construire. Différence, acceptaptation fim magnifique car il y'a coexistence de deux points de vue. Nous fait réfléchir sur les dictats parfois absurdes empruntés au monde du théâtre du monde du travail.

The base story seems almost cookie-cutter, the plot of a cheesy rom-com - an overworked, overly serious professional woman that gradually comes to appreciate a deeper significance to life through humor and levity - except that it's her wonderfully awkward father showing her the ropes, and the treatment of the subject matter is brilliantly distressing, generating fully-fleshed out characters and a detailed backstory to make sure that the corporate misadventures of Hüller's Ines are fully established. Far from sappy, Ines's journey is nothing short of transformational and sweeping despite taking place in apartments, streets, clubs, and boardrooms. The contrast between interpretations of Simonischek's Winfried as woefully embarassing and bizarrely enlightened really stand out; it's a straightforward social statement that has been hanging around in cinema since Frank Capra, but told with such care, love, and detail that it feels fresh and powerful. Though billed as a comedy-drama, it's really more of the latter given the stakes of the film - disconnect among family, pointlessness in existence without levity; the motivations behind the crazy gags make it a surprisingly candid social drama despite how well the jokes are timed. A refreshing and fast-paced film that really deserves all the praise that it has received. (4.5/5)

A pretentious presentation in tedium. If the film was shorter it might be bearable...but alas, the director thought they were making a deep masterpiece about how life is what happens while we are waiting for things to happen. There's a kernel of truth to that idea; unfortunately, it's not explored in a way that makes me feel like I just did anything other than spend three hours sitting by myself at a bus stop wondering why the bus is taking so long to get there...Interesting ideas and kernels of truth don't make a good movie, compelling drama -- a good/great story well told is what makes a good/great movie. This just didn't have that.

I still am not sure what I saw. Bizarre. Perhaps a commentary on how we are all actors playing roles, and “Toni” was just highlighting that. Or that, for all his eccentricity and other outrageousness, he still connected with people effortlessly while his daughter, whose job required to schmooze, had such difficulty in making human connections?

You cannot ignore the fact that the girl remains a child in her father's eye, Tony Erdman is the person who tricked himself into remaining not in control of his daughter, but rather to remain a man without whom his daughter could not complete her life, neither in her work nor in her relationships nor even in her private relationships, Especially the film presents a philosophy of its own, the dialectic of the father's feeling towards his girl and his keenness to always remain the father who knows the interest of his daughter more than herself and who teaches her the meaning of life. For the father to be in the director's view, as for the viewer, he is either arrogant, dominant, or affectionate, according to what you see who is the father in this case

Toni Erdmann is Maren Ade's story of a father (Peter Simonischek) and daughter (Sandra Huller) who lead totally different lives while trying to find some sort of meaning in life. He is an immature prankster who masks his insecurities and doubts by engaging in infantile humor. She is a business consultant living abroad who buries herself in work to distance herself from those around her. Ade's direction is, for the most part, effective as she allows the camera to linger on characters to reveal their inner emotions. However, the father's antics grow tiresome at times and the film, clocking in at close to three hours, is far too long when considering the subject matter. If these issues can be overlooked, the movie is an effective exploration of acceptance and forgiveness.

Toni Erdmann ist one of the most importend movies that deal with family, business and the tragady of the people in the finance world. It is a beautyful stories about a father's love to his daughter. I love how the movie is composed, and the fact, that it works without the use of unnecessary music. A must see. (I can only talk about the german version)