Alemán | Subs: Castellano/English/Français/Português (muxed)
86 min | x264 720 x 394 | 1770 kbps | 192 kb/s AC3 | 25 fps
1,19 GB
Philipp es un vendedor de autos que
atropella a un chico en bicicleta por una ruta desierta mientras discute
por celular con su novia. El conductor primero se detiene, luego huye y
no es descubierto. El conductor intenta redimirse haciéndole favores (y seduciendo) a Laura, su madre...
El accidente automovilístico (un elemento recurrente en las películas
del director) quiebra la lógica existente. Las diferencias de clase
parecen evidentes: Laura es operaria en un depósito de comestibles y
Philipp tiene una posición acomodada, aunque depende de su jefe y su
novia, dos hermanos millonarios. En realidad, Philipp no pertenece a
ninguna parte, está tironeado entre sus obligaciones sociales y su
devoción enfermiza por Laura (interpretada de manera magistral por Nina
Hoss, que a partir de esta película se convertiría en la musa del
cineasta).
A pesar de su aparente frialdad, Wolfsburg es un drama
profundamente emocional y complejo que elude los lugares comunes
visuales con paisajes soleados, casi bucólicos. (Tomado del texto de
Aníbal Perotti en Cinerama)
Car salesman Phillip Wagner is
driving along an asphalted dirt track used by the locals as a short cut
to Wolfsburg. He is having an argument on the telephone with his fiancée
when, suddenly, he runs over a child. He sees the child’s body in his
rear-view mirror, hesitates, brakes, but does not get out. Phillip
Wagner stays right where he is in his life – and simply drives on. It
looks as though Phillip might be lucky. The boy comes out of his coma
and the police are looking for another car rather than his. Phillip
Wagner’s life continues. It almost seems as if the life he has led up to
that moment really is worth preserving. He and his fiancée go away on
holiday to an island in the hopes of regaining their love for each
other...
With his 2003 Wolfsburg, Petzold refocused on the nature of
labour and economy in post-war Germany, not least by making a film with a
title invoking the factory town of Volkswagen, Germany’s biggest and in
many ways trademark company. If Farocki has been a regular
collaborator, with Wolfsburg Petzold nods in the direction of another of his DFFB teachers, Hartmut Bitomsky, whose nonfiction film Der VW-Komplex (1990)
he cites as a major influence: Bitomsky’s film also takes up how work
changes people, though in a more accessible and wry mode than most of
Farocki’s films. In Petzold’s hands, the VW factory town hosts a
melodrama, in which a distracted yuppie car salesman quarrelling on his
mobile phone with his girlfriend happens to run over a boy. After
fleeing the scene, Philip (Benno Fürmann) goes to visit the boy in the
hospital and then starts to fall in love with the boy’s (single) mother,
Laura (played by Hoss). What could be an almost maudlin tale becomes,
typically for Petzold, a bare-bones plot with which to consider the
loneliness of modern life and the dissonances of contemporary labour.
Love and work are, as in many of his films, insidiously interwoven, with
Philip’s initial girlfriend, Katja (Antje Westermann), the co-owner of
the dealership where he works and then, in turn, his finding a better
job for the underemployed Laura. (Senses of Cinema)
Philipp Wagner est un vendeur de
voitures d'un naturel fragile et dépressif. Il est méprisé par son
patron, qui est le propre frère de sa fiancée Katja et qui ne l'emploie
qu'à ce titre. Alors qu'il est en voiture et qu'il se querelle une fois
encore avec Katja, Philipp heurte la bicyclette d'un enfant. Il prend la
fuite. Miné par le remord et le désarroi, il rentre en contact avec
Laura, la mère de l'enfant, à qui il ne parvient pas à avouer qu'il est
le responsable de l'accident. Son existence devient de plus en plus
ambiguë et douloureuse, de même que celle de Laura.
DVD rip de Dom_Severino
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