Director:
Markus GollerGuión:
Oliver ZiegenbalgCámara:
Frank GriebeReparto:
Bjarne Mädel, Lars Eidinger, Sandra Hüller, Franka Potente, Alexandra Maria Lara, Jella Haase, Jördis Triebel, Wotan Wilke Möhring, Sesede Terziyan (más)Sinopsis(1)
After long years of estrangement, two brothers Christian, 43, played by Lars Eidinger, and Georg, 45, played by Bjarne Mädel, finally cross paths at their father’s funeral. A fist fight at the cemetery and a booze-fuelled wake later, they drunkenly decide to fulfil their boyhood dream: a cross country trip through Germany on their old mopeds. And so begins a journey full of exciting highs and comically dramatic lows. A journey that allows the brothers to reconnect and leads them to a turning point in their lives. A journey from the depths of the Black Forest to the shores of the Baltic Sea – never faster than 25 km/h, but always full of sex & drugs & ping-pong! (Berlinale)
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While contemporary French comedies work with plots about how the old French find it difficult to assimilate into contemporary society, and they make films in the Czech Republic about the problems of being stuck in relationships, in Germany, judging from recent comedies, the biggest quagmire there seems to be the secure forty-something who is oblivious to life because of his constant work. But while the comedy of professional workaholics, the Japanese, usually involve at least one hilarious rape, seashells for nipples, and a gallon of blood on an octopus, in Germania they cope with the kanban by going for a summer ride on motorbikes and that's it. 25 km/h doesn't even try to make a joke, it's just a collection of heartwarming situations that, thanks to the background music, are always safely recognizable by how reminiscent they are of commercials for fruity summer beers. As entertainment, you can at least count the cameos of actors like Alexandra Maria Lara, Sandra Hüller, Jella Haase, Mateusz Kościukiewicz, and Franka Potente throughout the film, but I was probably most impressed by the unintentional portrayal of the German countryside as a kind of exuberant post-apocalyptic landscape, where you hardly meet anyone on the roads and where small towns are left behind by the wives and relatives of those who are making big bucks in multinational corporations somewhere far away in Asia. But the overall message of the film "try everything and continue to be nothing" is universally repugnant to me.
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