By late November 2020, Nilam Farooq, Paula Kalenberg, Jonas Nay, and Louis Nitsche were cast in as German comedy drama film penned by Gottschick and von Bornstädt, and to be directed by Gottschick. A the same time, principal photography commenced and wrapped in late December. Filming took place in Tetenbüll, Schleswig-Holstein, and Hamburg, Germany.
The film stars Farooq, Kalenberg, Nay, and Nitsche. The entire enterprise plays as workshopped, checkboxed and algorithm-assisted. But let's not lean into German stereotypes, even if the filmmakers and cast do. But the performances are sparkling, sharp and rounded. Each star is beautifully cast.
Partner-swapping may be a catchy concept to start with, but the film simply isn't sexy enough, nor does it have enough post-coital emotional resonance to maintain interest over its eighty-eight minute running time. Even with lots of shagging and some hilariously cringe-making moments, the climax ironically comes much too soon and leaves the viewer feeling frustrated rather than satisfied. This Modest-budget German film fails to ignite, held back by rudimentary production values and bland characters. The film is successfully constructed so that the many forced elements of this generally unlikely story fall together in an emotionally true and persuasive way. It is another product of the industry's blngeworhty content Movies, aimed at the deprived, indigent and needy who find they can peep better in the dark than in sunlight. The comedy peaks infrequently, and even as our laughter begins to subside, the director has started moving us further away from even funnier moments. The film will disturb you. It will also make you laugh. It may make you think about your own marriage. How can you ask more from a social satire? With a gross touch which wavers between bedroom farce and satire, a picture called The Four of Us exploits the sexual revolution's arrival in the middle class. What Gottschick and von Bornstädt obviously had in mind was a sophisticated, controversial comedy, but their work suggests that sex is too important to be left to Hollywood. When Germany and Netflix decides to devote its full arsenal of production-value shlockerai to bring to cinematic life a cheat-and-tell tale of two young couples, full of sexual fury signifying nothing, it comes up with this film. It strings together a series of funny skits, some of them dragged out way too long, allows us to pussy-foot along the edge of the serious issues but never really takes the plunge. Evidences considerable talent and cleverness on the part of the producing-writing-directing team of Gottschick and von Bornstädt, the film itself remains a slick and conventional comedy whose antecedents lie closer to Tashlin than Lubitsch.
The film stars Farooq, Kalenberg, Nay, and Nitsche. The entire enterprise plays as workshopped, checkboxed and algorithm-assisted. But let's not lean into German stereotypes, even if the filmmakers and cast do. But the performances are sparkling, sharp and rounded. Each star is beautifully cast.
Simon says The Four of Us (Du Sie Er & Wir) receives:
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