The best Peter Maertens’s movies
We present our ranking of the best Peter Maertens’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Peter Maertens.
Teufelsmoor
5/10
After the death of her father Georg Inga Hauck drives together with her son Max in their home village. In her old home she meets Anna Kertesz. Inga's parents had taken Anna 28 years ago after her adult brother Zoltan mysteriously disappeared. Since the same day also Ingas was missing then six-year-old brother Magnus. Inga is being overtaken by her past in her parents' house. Soon her nerves are bare. And every day her memories come back.
Toilet Stories
5.8/10
Five toilets - five stories! This pitch black comedy relentlessly illuminates the darkest corners of society, thereby revealing a colorful potpourri of human perfidy. The five intertwined episodes are staged in the manner of an intimate play, occasionally testing the audiences moral judgment.
The Baader-Meinhof Gang on Trial
7/10
Based on the research for his non-fiction book "Der Baader-Meinhoff-Komplex", "Spiegel" journalist Stefan Aust wrote the screen play to Reinhard Hauff’s controversial feature film that re-narrates the startling trial against the RAF terrorists Baader, Meinhoff, Ensslin, and Raspe. The trial that started in May 1975 in the Stammheim maximum-security prison extended over 192 days and ended with a lifetime sentence for all defendants.
Die Räuber
Hands of a Mother
7.1/10
A family reunion aboard a ship becomes a turning point in the life of 39-year-old engineer Markus. When his son Adam (4) gets a little cut after going to the bathroom with his grandmother Renate, Markus recalls for the first time what his mother did to him when he was a little boy. Markus and his wife Monika find themselves confronted with an ugly truth of the kind you wouldn’t think a mother capable of.
Am Ende ist man tot
Die Auferstehung
5.5/10
The Wild
4.6/10
In addition to demonstrating the unexpected complexities of individual life paths, THE WILD establishes the possibility of “cinematic space” becoming a type of “third space”. Two seemingly contrasting spaces merge to construct a new space. The first space is the living room of a retired couple. The second space is embodied in Super 8 recordings filmed by the old man during his numerous trips to Africa and Asia during the 60s, 70s, 80s and 90s. The pictures show exotic animals which are projected directly onto the walls and furniture of the house. The assembly of these differing spaces does not create a more succinct boundary between them, but rather assists in the mingling of the two spaces. In this fleeting moment of third space, as it is limited by time, a new cinematic reality is formed.
