Regie:
Geoffrey EnthovenDrehbuch:
Pierre De ClercqKamera:
Gerd SchelfhoutBesetzung:
Charlotte Timmers, Roos Van Vlaenderen, Robrecht Vanden Thoren, Karel Vingerhoets, Katelijne Verbeke, Gilles De Schryver, Xandra Van Welden (mehr)Streaming (2)
Inhalte(1)
Die Freunde Lars, Philip und Jozef verbindet eine gemeinsame Sehnsucht. Obwohl bereits in ihren Zwanzigern, hatten sie noch niemals Sex - und das soll sich schnellstens ändern! Doch dieses Vorhaben in die Tat umzusetzen, ist gar nicht so einfach. Lars fesselt eine fortschreitende Krankheit an den Rollstuhl, Philip ist vom Hals abwärts gelähmt und Jozef ist fast komplett blind. Und ihre überfürsorglichen Eltern verbieten ihnen eine sorgfältig als Wein-Tour getarnte Reise in ein Bordell, das auf ihre besonderen Bedürfnisse eingestellt ist. So organisieren sie sich heimlich den nächstbesten Fahrer namens Claude, der sich bald als die Fahrerin Claude herausstellt, und begeben sich auf eigene Faust in einem Kleinbus auf eine Tour, die sie aus ihrer wohlbehüteten belgischen Heimat an die spanische Küste und damit direkt an das Ziel ihrer Träume führen soll ... (Ascot Elite Filmv.)
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Kritiken (6)
Solide Arbeit. Eine Art Rollstuhlfahrer American Pie – Wie ein heisser Apfelkuchen in einem sehr kultivierten Sinne und mit vielen unangenehmen Untertönen sowie einem Minimum an Betteln um Mitgefühl für Behinderte. Schade nur um den ein wenig wie eine Arbeitsversion anmutenden Schnitt und das irritierende Abrutschen zu einem sentimentalen Roadmovie, aber dafür, wie sehr es vorhersehbar ist, behält es tatsächlich ein bewundernswertes Anstandsniveau bei. Zweifelsohne hätte man mehr dabei herausholen können - hauptsächlich von den hervorragend gespielten Charakteren, die vom äußerst unsympathischen assozialen, dominanten und bengelartigen Philip dominiert werden.
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In most cases, I am satisfied with Belgian movies, and this film is no exception. Hasta la vista! is a very well executed drama, which is also a comedy and a road movie about three friends for whom their trip presents an important step in their lives. I really liked that the film itself doesn’t make a fool of anyone. You get to see three incredibly likeable characters, for whom you’ll root with all you’ve got. Even a seemingly unpleasant driver will eventually turn out to be a really nice character. I have to say that a lot of positive emotions came out of the film, and even though you know how it will end, the film is still very beautiful to watch.
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It's not quite as much of a comedy as it might seem. In fact, it's a rather bitter affair with the occasional bright spot. If you already have some experience with road movies, it's pretty clear how it's going to turn out and it doesn't bring anything new, even though the main characters are handicapped – that does bring some funny situations, but also all the bitterness that we hear most throughout the film with Philip, but in the end it's Lars who feels it the hardest. It's not a bad movie, but it doesn't have anything going for it either. A weaker 3 stars.
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The opening credits scene was so disgustingly sexist that it would have made more than one feminist fanatic chew her mustache with rage. Sure, this was no Intouchables, the film was afflicted with various clichés and pathos, but not enough to make me fast forward in disgust. I did enjoy this strange road trip to the end. For a child actor, Kimke Desart gave a really good and convincing performance.
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It is understandable that upon closer inspection, a few flaws in the beauty of the film can also be found. But this time, I won't be nitpicking. If a recent emotional extortionist of the worst kind really infuriated me, the creators of this bitter comedy about the life of a physically disabled person with a view of the cemetery took it in the right direction. With life, one needs to deal with issues, and when (as long as) it is possible, also enjoy it as much as possible. Come As You Are skillfully works with elements of tragedy, black humor, absurdity, and the calmness of the road movie genre. The journey of three physically disabled friends in search of their first and possibly last sexual experience could have been made in Hollywood as an emotionally manipulative sentimental lament, but luckily, Geoffrey Enthoven took a different path and is always ready to dismiss a heated scene with detachment or sarcastic wit. Conversely, whenever it seems that the film is becoming too comedic or derailing, it sensitively reminds us of how things really are and freezes the smile on our faces. Overall impression: 90%.
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