Regie:
Cate ShortlandKamera:
Adam ArkapawMusik:
Max RichterBesetzung:
Saskia Rosendahl, Nele Trebs, Ursina Lardi, Hans-Jochen Wagner, André Frid, Mika Seidel, Sven Pippig, Phillip Wiegratz, Katrin Pollitt, Hendrik Arnst (mehr)Inhalte(1)
Im Sommer 1945 treten die fünf Kinder eines geflohenen Nazi-Ehepaars zu Fuß den rund 900 Kilometer langen Weg zu ihrer Großmutter nach Norddeutschland an. Die 16-jährige Lore ist die Älteste und entdeckt auf der traumatisierenden Reise durch das Land die dunklen Seiten ihres Vaters. Als das Kriegsende bevorsteht, flüchtet ein ranghohes Nazi-Ehepaar mit seinen fünf Kindern in eine Berghütte. Um der Verhaftung zu entgehen, lassen die Eltern die Kinder unter Obhut der Ältesten, Hannelore, zurück. Allein versuchen die Geschwister zum Bahnhof zu gelangen, um zur Großmutter nach Norddeutschland zu reisen. Doch es fahren keine Züge mehr - zu Fuß machen sie sich auf die Reise. Auf ihrem Weg lauscht Lore den durch die Alliierten aufgedeckten Berichten über die deutschen KZs. Auf einem Foto erkennt sie ihren Vater, und mit schmerzlicher Gewissheit wird ihr klar, was er - für Lore stets ein Held - getan hat. Ein junger Mann folgt ihnen. Als die Kinder von einem amerikanischen Konvoi kontrolliert werden, ist der Fremde - Thomas - plötzlich zur Stelle und verbürgt sich mit einem jüdischen Pass für die Geschwister.
Sie setzen den Weg gemeinsam fort. Trotz Lores Aversionen entwickelt sich zwischen ihnen eine zaghafte Liebesgeschichte. Um einen Fluss zu überqueren, will sich Lore einem Fährmann anbieten. Thomas kommt hinzu und erschlägt den Mann. Lore ist so schockiert, dass sie sich das Leben nehmen will, was Thomas verhindert. Im Wald wird Lores fünfjähriger Bruder von alliierten Soldaten erschossen. Endlich im Zug, erfolgt eine Passkontrolle. Thomas glaubt, seinen Pass verloren zu haben und verschwindet. Als Lores Bruder Thomas' Papiere hervorholt, versteht sie, dass Thomas eine falsche Identität angenommen hatte. Bei der Großmutter angekommen, kann Lore nicht vergessen, was sie gesehen hat. In einem Akt der Verzweiflung bricht sie mit ihrer Kindheit in Nazi-Deutschland.
(one - ARD)
Kritiken (5)
Lore ist genau der Film, der mich in meiner Überzeugung bestätigt, dass jeder Krieg eine große, überflüssige Schweinerei darstellt, wegen dem am meisten die normalen, unschuldigen Menschen leiden, vor allem Frauen und Kinder. Um Deutsch zu üben, würde ich Lore nicht gerade empfehlen, weil hier nicht sonderlich viel gesprochen wird, der Film besteht aus einer Reihe poetisch gestimmter Szenen, vieles bleibt unausgesprochen und unbeantwortet. Saskia Rosendahl ist ein natürlich hübsches Mädchen, die eine sehr anständige Leistung zeigt. Ein leuchtendes Beispiel für einen Streifen für Klubkinos und Festivals.
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A beautiful, and really beautifully made post-war drama. I find this topic in film quite tiring already (how many times have we seen films chewing the topic of Jews + WW2?), but this one at least approaches it from a slightly different angle (the perspective of a young girl raised by a Nazi family)… and, besides, it is brilliantly made, as I’ve said. Flawless cinematography, incredibly gripping atmosphere.
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I feel that the Germans with their war movies or generally with movies about the past as such try to clear themselves of everything bad their nation managed to commit in the last century. Lore may be at times a lengthy movie, but it immediately won me over with its raw atmosphere. It suffices to read the story and you will know that there is no room for compassion here. A rough and cruel story from the end of the Second World War, which shows the opinions of those who were hit by the propaganda and then had to figure out what the issue was and what truly happened during the war. The story is told from a bit unusual perspective, but it is shot in such a way that it will make you think about it long after it ended.
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I'll begin somewhat venomously. It seems somewhat inappropriate to label Cate Shortland a young director, as she is still described in the biography on FilmBooster. At 48 years old, she should have much more extensive results in her work. Considering the condition of Australian cinema, only two feature films suggest that either her abilities are not that famous or that she is such a creative loner that producers are discouraged in advance. It is certain that her film Lore enchanted a significant part of the European festival audience, so the name Shortland has gained wider recognition beyond the closed bubble of the club audience. The film may seem too slow and distant to a wider range of viewers. At least the context is explained, and the film is shot subjectively from the perspective of the main character who tries to take her younger siblings to their grandmother on the other side of Germany after their father, involved in war crimes, escapes, and their mother is arrested by the occupying authorities. Unfortunately, I have to say that I wasn't impressed by Lore. I didn't have any issues understanding the plot or the fact that the production was low-budget, so there can be no talk of grandeur in any way. On the contrary, I take issue with the instructiveness of the screenplay - Lore's companion on her journey from the south to the north was a German Jew with whom the attitudes of a girl from a prominent Nazi family can be perfectly confronted. Moreover, he was a boy of suitable age with whom Lore could experience not only a certain ideological transformation but also an unconventional rough romance. At that time, millions of refugees, military personnel, captives, deserters, and prisoners were surging through Europe, and German Jews were a tiny fraction among them. For understandable reasons, only a handful survived the concentration camps, and they also arrived from a different direction - from the less fancy camps in the northeast. Moreover, they arrived much later than Lore's story takes place. Secondly, I also disliked the absence of a distinct film language. Compare Lore, for example, with the thematically related film Landscape After Battle or The Europa Trilogy by Lars von Trier, and it should be clear where there is talent and quality and what is average filmmaking. Making art also requires talent. Overall impression: 60%.
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The problem with Lorepretty much lies in how it reminded me of the art teacher short in the film Ghost World, where they flush dolls down the toilet and repeat "mirror, father, mirror". Because, in the same way, this is truly universal art, behind which I tried vehemently and in vain to find something more than "intimate polemic over collective guilt" and "the transformation of a girl into a woman under strange circumstances". In reality, Lore is quite misogynistic in contrast to Trier's Europa trilogy, which is close to his setting, because while that one manages to raise many themes and issues from the perspective of a male observer, Lore doesn't get any further with its female active protagonist than the eternal stigma and mother protector. Which is only emphasized by the fact that it was filmed by a woman. And for a change it's very proficient formally, though I feel lately that cutting from close-ups marking some emotional advancement to long shots made up of informative footage is now such a general recipe for sticking an arthouse together for pennies.
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