Dying (2024)

Dying-(2024)
Dying (2024)

Matthias Glasner’s Dying is a tale about an almost dysfunctional family of four: an elderly couple on the brink of death, a successful son who is a composer, and their daughter who is a drunken mess. Dying is composed of five different chapters and runs for about three hours the movie has received praise for its gripping storyline, but as I watch the movie, I am left to wonder about the work of Glasner as the stories of the four are never evolutionarily connected.

The German couple Lissy and Gerd, are juxtaposed to their children in the sense that Lissy and Gerd struggle to maintain a loving relationship while their children fail to care for them. One might even say Lissy and Gerd’s children care more about their lives in the metropolitan cities than their parents. To delve into further depths, Gerd being a naked wander suffers from dementia while his wife Lissy struggles with various medical conditions, tragedy after tragedy they are unable to support each other. I guess that’s what happens when Lissy is a Nena fan.

The premise borders on ‘misery porn’ the only reasonable explanation for similar works, like Michael Haneke’s ‘Amour’ or Gaspar Noe’s ‘Vortex’, about helpless older couples – but he doesn’t mince words or insights at such indignities. To make them more bearable, he does not sugarcoat them too; rather, he accepts them as givens, such as Lissy’s humiliation and her strained response to being helped unsolicited.

As Lissy tries to decide whether or not to have Gerd placed in a nursing home, ‘Dying’ casts about for a theme of death – death in this case, and the dreadful fear of dying, or of this case of dying alone – which is the genesis of the story that’s being told. But in any other movie, such a slow close-up of the mother and their son Tom who is somewhat lost and in need of maturing and most of all going through a middle-aged crisis slowed down , the film starts to crease. He’s in the middle of rehearsals for Bernard’s (Robert Gwisdek) orchestral piece ‘Sterben’ (Dying) and trying to play step-father to his ex’s child now and slightly feels like more of a father figure rather, ‘a acquired child’ from her other man, now because he feels that younger musicians don’t really see the subtleties.

Musicians find themselves and are able to express themselves in different and fresh ways in these discussions and performances concerning death, and on the other hand, ‘that cinematic self- deconstructionist attitude’ as it were to say loses its dynamism as in the deconstructionist attitude, the creative evolution is rarely depicted visually in their storytelling,notable critics for Tom for ‘orchestra charging’ indeed, as Collins Jr. says, ‘the whole thing is a huge copy. “The contexts of these remarks make it apparent that this remark is the part of the film that tries to make insult of the film to comfort oneself of this kind of self-preservation is one of its problems. It cannot be, however, how in any situation it were the strange combination of Craig and Frances. “Dying”, despite the many qualities on stage is too literal.

In Gerd’s film, Bauer alongside other isolated souls roams the halls searching for validation, which is not an easy task for him. He faces his own daunting life as he plays Oleg who sits still like Eidinger with the exception of short breaks when visiting Tom. The way he interacts with Harfouch is playful: it is quite a gross oversimplification to suggest that Tom and Lissy were cheeky and more were stupid about the distance that was created. After all, there is room for awkwardness when regrets are available through the morbid route of death’s inevitability – dredging up the x distance is much easier.

Unfortunately, Glasner’s fragments have character. The conversation tends to be entertaining, though – in particular, Harfouch is dead at that point – more so after that. All as far as Dying manages to spend more than a few minutes mortally interesting in how the characters formed connections in the past. During the phone’s recent viewing, this developmental word becomes a ‘membrane’ for the characters throughout the film in which whenever the fourth surprising member is introduced, what Tom’s sibling becomes is the preview. Ellen is Tom’s sister and also an amateur musician who married a dentist but is having an affair with her boss.

Of the film’s many romantic relationships, that one is certainly going to be the most shifting the audience’s feelings during the performance will be stepped on only once because Eva is quite a compelling character and the perspective, the dynamics, and the level of energy are all able to cause an emotion however, the film fails to smoothly construct or forcefully express the qualitative link between Ellen and her family. Stangenberg portrays the character of a young woman who has been hardening due to her drugs and loneliness in an utterly believable manner but appears to herself be in another film even though its cut to a different tempo altogether. Rather than enhancing or rounding off the overarching narrative of the other chapters, the Ellen parts of the film feel out of place.

The reviews for ‘Broadway’ do not have an engaging purpose. The emotion revolving around a sense of unreachable ending and social alienation anxiety is what intertwines together these separate chapters in a review. It is more than evident that such disruptions exist where a meaning merges with naive beauty; monotony’s very flaws that are expected to be fully kept or confronted in the movie are. The goal of Glasner that is. If there is anything that is evident, that is the main point of the work – that more clearly put, it is the underlying idea of the work. When considering this perspective of the work Such a technique can be called a “gimmick” as “Dying” is not more than a film stylistically in nature. The high-quality nature of the subject and performance does not change that aspect

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