Regie:
Marie PoledňákováDrehbuch:
Marie PoledňákováKamera:
Martin DubaMusik:
Petr MalásekBesetzung:
Kamila Magálová, Jiří Bartoška, Eva Holubová, Oldřich Kaiser, Nela Boudová, Roman Vojtek, Martha Issová, Filip Antonio, Jakub Grafnetr (mehr)Inhalte(1)
Helena Altmanová is a likable high school French and literature teacher, whose healthy, light-hearted attitude has gained her popularity among teachers and students alike. Her personal life, however, has big surprises in store for her. Her extended family provides a wealth of opportunity for surprises. Life in the same apartment with her ex-husband, the successful writer Karel, problems with her widowed sister Kristýna, her son Adam’s marital troubles, and grandmother Alžběta’s new-found love all keep Helena so busy that she doesn’t have time for her own life. And yet one day, just as she has all but given up on her dreams, something happens. Under tension-filled circumstances, Helena meets František, an emergency services doctor, and falls head over heels in love! This marks the beginning of a stormy, passion-filled story about breaking up and making up, in which the two love birds complicate relationships, whether on purpose or by mistake, with their partners and other family members. (Verleiher-Text)
(mehr)Kritiken (6)
You would have thought that the sentence “You kiss like a God" was a compliment. But, thanks to Poledňáková, we now know that this is a synonym for “you kiss terribly long, hopelessly boringly, absolutely without passion and please let me go right now - I would rather clean public toilets than spend one minute more in your company".
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You Kiss Like a God ist von Anfang bis Ende eine sinnlose, langweilige und dumme Komödie, und umso trauriger ist es, dass sie vor hervorragenden Schauspielern und sogar einem außergewöhnlichen tschechischen Schriftsteller nur so strotzt. Ich verstehe nicht, wie dieser Film einen solchen Erfolg bei den Zuschauern erringen konnte. Obwohl, wenn wir eigentlich in einem Land leben, wo zum Beispiel die Kameňák-Filme erfolgreich waren, warum also nicht das, nicht wahr…
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Perhaps I’m too young, or just overly conservative, but is it really normal to pass off divorce, infidelity, "marital vacations" and any number of other variations of warped partner relationships as the norm? I did not finish watching this.
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The anticipated zenith of the embarrassment genre is postponed indefinitely. This script presents a bit too many infidelities and the whole view of the matter is properly delusional most of the time, and yet surprisingly, I sometimes enjoyed the film with enough detachment. The main plot is mainly responsible for that, as it has nothing more to say than that love can bloom at any age and you can also act like a love-struck fool at any age. And when it's Oldřich Kaiser dusting off his comedic sketches on the screen as the fool in question, there's no reason to complain. A pleasant morsel and a few relaxing smiles.
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There are cases when in a collective some works gain in quality. For others, even that’s not enough, and so when the audience of six people from the age range of 24 to 78 was shown a screening, they all gradually passed out from boredom. True, we missed the key audience groups of a girl under 15 and a woman on maternity leave under 35, but even then the "people meter" was carefully filled. Marie Poledňáková has convinced us to no end that she is happy to watch anything from Rosamund Pilcher to "excellent" comedies with Hugh Grant, and she can unerringly translate these things into Czech cinema. She knows how to use proven technical methods and is not afraid to go to the tried and tested Western slow dances with the OST. But it is a mystery to me why this effort had to be decorated like a Christmas tree with every celebrity (and actor) who was relevant when this was made. Yes, it was interesting to bring an established, but unproven, Slovak actress into the Czech mainstream, but why all the excesses, starting with Arnošt Lustig and ending with Roman Štolpa? What the heck is happening when the best acting performance is by Lucie Bílá, who, in addition to singing the title song, adopted one day of filming gag for the closing credits? Of course, our love Eva Holubová, who will celebrate 30 years of playing herself next year, will become the unpleasant woman of the century. Good for her.
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I guess I didn't expect it to be a great film, but it is still a disappointment for me. Poledňáková only plays at creating strange families, which function quite normally in her environment. If it weren't for the interesting actors carrying it, especially Bartoška and Kaiser, it would be almost unbearable to watch. But still better than the second part...
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