Truly Dreadful Film

The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Through the magnificent photography of Martin Gschlacht, we take science, right in the opening scenes, that we are facing a movie totally different then those we saw before. Initially controversial (due to the fact of stupendous interpretation of Thomas Schubert) Roman Kogler will creeping in our imagination as one more important character in movie's history. Take, for example, the scene in which, after more day of labor, he comes back to "his home" : when he observes the others passengers, as if the was trying to guess how the lives of those "unknown": Are they happy? Do they fight among themselves? Do they have enough money to sustain themselves? What are theirs aspirations (secret or not)? After all these thoughts, the final question (made in silence to himself and looking out through the glass train's window, which reflects his inner loniless): And how my life would be without having to go back to "home" = Prison? Poignant film! Karin Lischka (almost the same level of interpretation of Thomas Schubert) is simply sensational when she reveals brutally, bluntly, that she tried to kill his own son! Must-see movie for all those who enjoy a film in which the Director (Karl Markovics) seeks to dissect with a scalpel, the soul of all his characters. On a scale of 1 to 10, rating: 10 (masterpiece).

The actor Karl Markovics has made a beautifully low-key directorial debut with this rumination on freedom, mortality and coming-of-age and the parallels between these things. He has a gift for imbuing a 'slice of life' story with a narrative engine that supplies tension and interest despite "not much happening" on screen, and his visual style is very well developed for a debut.His greatest gift is directing actors - the ensemble here is magnificent. But he shouldn't take all the credit for the performing here - Thomas Schubert in the lead gives one of the best debut performances I've ever seen, completely lucid, emotionally immediate and "there", creating a tangible character that, over the course of the film, we get to know as closely as a good friend. He's a total natural, but that's not to say that he lends his characterisation a calculation and rigorous emotionality on par with the best professionals. Here's hoping for a long career ahead of him.

There is no 'love' in this subtle treatment of emotional dysfunction. All the characters will alienate you and are to all intents and purpose 'alienated' in their own lives and roles. Nevertheless, even the hardest officials show a restrained generosity towards the troubled youth Kolger as he fights and struggles against them. The marvel is that once the cause of Kolger's anger is revealed you will completely understand his position, why he has grown with such a sour view of the world. This is not an upbeat movie but it will make you reconsider why it is that troubled people lash out. They may not really know why either, but you can bet there has been a precursor that 'sets them up'. Full marks for illustrating this process without moralising. This film deserves a wider audience - show it to some troubled people, it'll give them cause to hope for a better life.

Karl Markovics had to work hard to escape his signature role as Stockinger, the funny sidekick in the popular TV show "Kommissar Rex". It took a lot of "serious" theater work and the leading role in Stefan Ruzowitzky's Academy Award winning "Die Fälscher" until he finally got the respect he deserved as an actor. Now Markovics goes on to prove his talents extend beyond just acting: "Atmen" is his debut as a writer and director - and he hits the bull's eye on the first try.Apparently, Markovics has worked on a lot of script ideas over the years, but never deemed any of them good enough to be developed into a movie. Finally his wife convinced him to go through with one of those ideas, and rightfully so. "Atmen" is an artistic triumph. Not only is the script brilliantly written, but it is also flawlessly executed. The direction seems almost effortless, as if Markovics was already an old master. He seems to know intentionally what to show when, he's got a great eye for frames and unagitated pictures, and, an actor himself, he naturally knows how to direct other actors. That's not to take away from the great cast. Veteran stars like Georg Friedrich and Karl Rott don't disappoint, but the focus lies on Thomas Schubert who says a lot with just facial expressions. Obviousl,y the movie's success depended on Schubert's performance and the first time actor lives up to the task. He's a great talent. Hopefully we'll see more of him in the future."Atmen" is a touching and believable movie about life and death, tight-lipped, but never boring, bleak, but in the end optimistic. It's very authentic in its depiction of Vienna, its depiction of a boy who hasn't been dealt the best cards in life. And, most of all, it's got its heart in the right place. This really deserves an Oscar win - much more than "Die Fälscher" did, actually.