Everyone Else (2009)
Directed by Maren Ade
While on a Mediterranean vacation, a seemingly happy boyfriend and girlfriend find their connection to one another tested as they bond with another couple.
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What critics compared Everyone Else to
German writer-director Maren Ade’s last film was the audacious, masterful romantic drama Everyone Else, which pitilessly examined a young couple’s slow realization that maybe they shouldn’t be together.
Overcoming not one but two historical biases in Cannes Competition programming lore — being German and being a woman — Ade’s film is only her third feature after “The Forest For The Trees” (which was actually her graduation piece from film school) and 2009’s terrific, not widely seen “Everyone Else.”
It’s been seven years since her superb second feature Everyone Else premiered at the Berlinale, taking home the Jury Prize, and she’s spent the interim collaborating on the production of other people’s films (e.g.
That Ade’s screenplay limbos through such potentially clashing levels of sentiment and subtext without ever feeling diagrammatic or self-consciously declarative is no small miracle of dramatic construction, though her facility and fluidity with tone shouldn’t surprise any who saw her previous feature “Everyone Else” — a sexy, funny, emotionally battering beauty of a breakup drama — seven long years ago.
In her third feature as writer and director, following 2003’s The Forest for the Trees and 2009’s Everyone Else, Ade again shows her skills at confounding expectations and blending restraint with absurdist farce.
Director Ade (2009’s “Everyone Else”) is aware that Winfried may have mixed motives, not all of them positive.