You need to be patient with “Toni Erdmann.”
This nearly three hour-long German film goes nearly an hour as just a modest family comedy with some awkward humor before finding its voice. It’s only with a complete and sudden surprise does the movie’s naturalistic, deadpan filmmaking get thrust into full on anarchy. It’s worth the wait.
Maren Ade’s film milks the absurd from the ordinary, a loving comedy between a father and daughter grown estranged. And yet “Toni Erdmann” overcomes its Hollywood log line by establishing a tone of suspense and uncertainty. The film is rarely manic, but the set pieces defy predictability. Continue reading “Toni Erdmann”