Toni Erdmann

Dir. Maren Ade

162 Minutes

Germany

2016

Starring: Peter Simonischek, Sandra Huller, Michael Wittenborn, Thomas Loib, Ingrid Bisu, Hadewych Minis, Lucy Russell

By breaking past the shackles of the conventions regarding the parent-child relationship narrative, writer/director Maren Ade makes Toni Erdmann a brilliant three-hour long comedy about the reconnection between Ines, a tightly wound corporate executive, and her father Winfried, who is unable to stop playing pranks on people. The two seem content simply politely acknowledging each other are family functions, but after the death of his dog Winfried unexpectedly shows up at Ines' door with the intention of staying for a month. Stressed out while trying to secure an important business deal,Ines reluctantly allows him to stay, though quickly regrets it when Winfried takes on the guise of "Toni Erdmann", complete with a long-black wig and a set of false teeth for when the silences get too awkward, to accompany her on business outings. In a lesser screenplay, Ines and Winfried would be tied down to long passages of dialogue about the past--arguments about growing up with a father prone to such foolishness, failings about being a father or being a daughter, etc.--but Ade approaches their story in a novel way, focusing mainly on the obligations one has towards certain members of their families regardless of how different their personalities may be. And this is brought out in such wonderfully subtle ways, so that when, in the third act, Ines takes her fathers lead and gives a full rendition of "The Greatest Love of All" (to a full round of applause by the audience), it feels both hilarious and natural given the circumstances instead of being forced and too odd. It also helps that leads Peter Simonischek and Sandra Huller have a natural chemistry. Simonischek's big oafish face, especially in the Erdmann attire, beautifully contrasts with Huller's nearly perpetual grimace. And Ade's realist approach allows the comedy to gestate in very natural ways, sometimes allowing the humor to perpetuate in the background instead of forcing close-ups or shot-reaction-shots. The film culminates with one of the funniest comic set pieces in some time, one that feels painful to watch and maybe even too absurd at first, but, eventually, like the most inevitable course of action. Toni Erdmann is a remarkable film, achingly funny with an oddly touching conclusion. It is sprawling in scope while also being intimate in its character relationships, complex while also presenting a very simple narrative, and perhaps the tiniest bit overlong while also never overstaying its welcome. 

​September 10th, 2016