Sparta
Titre original : Sparta
Drame – Autriche, Allemagne, France
Année de production : 2019
Année de production : 2019
Réalisateur : Ulrich Seidl
Livre : Ulrich Seidl, Veronika Franz
Caméra : Wolfgang Thaler, Serafin Spitzer
Musique : Fritz Ostermayer, Herwig Zamernik
Livre : Ulrich Seidl, Veronika Franz
Caméra : Wolfgang Thaler, Serafin Spitzer
Musique : Fritz Ostermayer, Herwig Zamernik
Description du film :
Ewald moved to Rumania years ago. Now in his 40s, he seeks a fresh start. Leaving his girlfriend, he moves to the hinterland. With young boys from the area, he transforms a decaying school into a fortress. The children enjoy a new, carefree existence. But the distrust of the villagers is soon awoken. And Ewald is forced to confront a truth he has long suppressed.
Sparta is the brother film to Rimini, and the conclusion of Ulrich Seidl’s diptych about the inescapability of the past and the pain of finding yourself.
Soft-spoken, doting, and seemingly impotent Ewald (Georg Friedrich) and his Romanian girl-friend are setting off for her homeland to visit her family. Their lackluster relationship crumbles, and Ewald, a pedophile who hasn’t acted on his reprehensible inclinations, begins to fixate on scouting abandoned schools in various states of disrepair – which he plans to convert into dojos for prepubescent boys (played by local non-actors as part of a participatory and meticulously monitored production alongside consenting families). Ewald’s dubious endeavor is rounded out by visits to a nursing home inhabited by his father, who suffers from dementia and whose only lucid moments come through visits to the cemetery and songs from his days as a Nazi officer.
Sparta is the brother film to Rimini, and the conclusion of Ulrich Seidl’s diptych about the inescapability of the past and the pain of finding yourself.
Soft-spoken, doting, and seemingly impotent Ewald (Georg Friedrich) and his Romanian girl-friend are setting off for her homeland to visit her family. Their lackluster relationship crumbles, and Ewald, a pedophile who hasn’t acted on his reprehensible inclinations, begins to fixate on scouting abandoned schools in various states of disrepair – which he plans to convert into dojos for prepubescent boys (played by local non-actors as part of a participatory and meticulously monitored production alongside consenting families). Ewald’s dubious endeavor is rounded out by visits to a nursing home inhabited by his father, who suffers from dementia and whose only lucid moments come through visits to the cemetery and songs from his days as a Nazi officer.
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