Michael’s (Georg Friedrich) estranged father recently died in Norway. Michael has to go there to take care of things and decides to take his own son Luis (Tristan Göbel) with him. Luis lives with his mother and he and Michael don’t get along all that well, either. For Michael, this trip and the ensuing drive across Norway is supposed to be a chance for the two of them to connect. For Luis, it’s less clear what he wants from his father and this trip.
Helle Nächte doesn’t tell a very new story, but it tells it well. It wasn’t the film I was most emotionally invested in, but I enjoyed it.
Nora (Marie Leuenberger) is a young housewife and mother, happy with her husband Hans (Maximilian Simonischek). Things could go on forever like they have and it feels like they did. But even the remotest Swiss town will be touched by the 68 movement. For Nora it comes in the shape of the discussion about the right for women to vote. And she finds that in 1971, this really shouldn’t be a discussion anymore, but a reality. As she starts to campaign in her village, though, she realizes that far from everybody shares her conviction.
Die göttliche Ordnung is a lighthearted, feminist comedy that manages to balance serious politics with a sense of humor. It’s enjoyable, though maybe a little too well behaved.
The little Bavarian village Hauzenberg is slowly dying out. They used to be a skiing ressort, but the snow has been lacking. So when Georg’s (Christian Ulmen) rather unfriendly but very religious mother-in-law Daisy (Hannelore Elsner) dies [she gets hit by a cross that falls off a wall because Georg fucks his wife Emilie (Marie Leuenberger) a little too enthusiastically], Georg has the glorious idea to get her declared a saint to get the tourism back in the area. But sainthood isn’t achieved that easily.
Wer’s glaubt, wird selig is a fun little movie. Nothing too great, nothing too bad, but it does have some very nice laughs and just the right amount of irreverence, so it doesn’t get too catholic for my taste.