Producer Paul Welsh, secured the film rights to Seiffert's novel very early and hired Mukherjee to pen the adaptation. When Shortland joined the project she re-wrote part of the script to make it fit her way of working. At a later stage, it was agreed that most of the dialogue should be in German, which delayed the production for a year and forced one of the British funding institutions to back out, as its rules didn't allow backing of non-English language films. By late July 2011, Saskia Rosendahl, Ursina Lardi, Eva-Maria Hagen, Sven Pippig, and Philip Wiegratz were cast. At the same time, principal photography commenced, and wrapped in mid September. Filming took place throughout Germany.
The film stars Rosendahl, Lardi, Hagen, Pippig, and Wiegratz. The cast creates a character who pulls us in and makes us recoil all at once. Newcomer Rosendahl is a revelation of empathy and dramatic transparency in a role riddled with moral landmines. A good example of a film about characters who aren't conventionally 'likeable,' but who are sympathetic and engaging nonetheless.
A poignant Holocaust tale marked by a breakout lead performance from Rosendahl and a successful sophomore directorial effort from Shortland. There's no doubting Shortland's talent. Her vision for this film is delicate and wrenching, tentatively optimistic. I have images from the film that haunt me still. The film is a real labour of love for Shortland and every element in the film is carefully considered. The film isn't simply sensitive to the mindset of its protagonist, but rather adopts the character's yearning, searching, testing and experimenting mood as its own. A psychological drama that registered with audiences and critics alike because of its heartfelt painful story. A well-wrought if modest movie that lingers with you longer than many more ambitious pictures. Though, pretty slow and predictable, and filled with soap opera-like plot contrivances. Moves with all of the sluggish energy of stop-and-go traffic during rush hour. It just keeps marking time until Heidi has another brief sexual encounter with some new guy. It is a film about the looks on people's faces and the disparity between the surface and the roiling chaos beneath. Rosendahl's raw, nuanced performance and Shortland's sympathetic but unsentimental portrayal of Lore's desperate steps toward maturity are underscored by Max Richter's dramatic, angst-ridden score. A frank and visceral film that at the same time exudes an unexpected innocence. Shortland has created a truthful, textured tale, exploring the subtlety and honesty in all her scenes - and never taking them exactly where expected. The film contains several startling, brilliant moments that bring its emotional and visual content together with tremendous clarity and power.
A poignant Holocaust tale marked by a breakout lead performance from Rosendahl and a successful sophomore directorial effort from Shortland. There's no doubting Shortland's talent. Her vision for this film is delicate and wrenching, tentatively optimistic. I have images from the film that haunt me still. The film is a real labour of love for Shortland and every element in the film is carefully considered. The film isn't simply sensitive to the mindset of its protagonist, but rather adopts the character's yearning, searching, testing and experimenting mood as its own. A psychological drama that registered with audiences and critics alike because of its heartfelt painful story. A well-wrought if modest movie that lingers with you longer than many more ambitious pictures. Though, pretty slow and predictable, and filled with soap opera-like plot contrivances. Moves with all of the sluggish energy of stop-and-go traffic during rush hour. It just keeps marking time until Heidi has another brief sexual encounter with some new guy. It is a film about the looks on people's faces and the disparity between the surface and the roiling chaos beneath. Rosendahl's raw, nuanced performance and Shortland's sympathetic but unsentimental portrayal of Lore's desperate steps toward maturity are underscored by Max Richter's dramatic, angst-ridden score. A frank and visceral film that at the same time exudes an unexpected innocence. Shortland has created a truthful, textured tale, exploring the subtlety and honesty in all her scenes - and never taking them exactly where expected. The film contains several startling, brilliant moments that bring its emotional and visual content together with tremendous clarity and power.
Simon says Lore receives:
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