Dying review: Dark family saga shows living, like dying, is a messy business
Director
:
Matthias Glasner
Cert
:
16
Genre
:
Drama
Starring
:
Lars Eidinger, Corinna Harfouch, Lilith Stangenberg, Ronald Zehrfeld, Robert Gwisdek, Anna Bederke, Hans-Uwe Bauer, Saskia Rosendahl
Running Time
:
3 hrs 3 mins
Matthias Glasner's Dying (or Sterben in the original German) is a film composed like its central musical motif: sprawling, discordant, haunted by mortality and strangely reminiscent of other works.
Spanning three hours and five loosely tethered chapters, this dark family saga plays like a collage of recent festival favourites; early, unvarnished scenes of elder care nod towards
Vortex
and
Amour
; a hectic middle section concerning a conductor recalls Todd Field's similarly themed
Tár
; a late narrative swerve into assisted suicide intersects with Pedro Almodóvar's
The Room Next Door
. Somehow, the disparate pieces and maximalist clutter find a rhythm.
Glasner's sweeping intergenerational study lays bare the fractures within a German family. Lissy (Corinna Harfouch), an incontinent matriarch dying of cancer; her husband Gerd (Hans-Uwe Bauer), vanishing into dementia; their son Tom (Lars Eidinger), an enigmatic conductor rehearsing a choral piece titled – get it? – Dying; and Ellen (Lilith Stangenberg), their estranged, self-loathing daughter, who works as a dental assistant in the belief that it's a job everybody hates.
She sings beautifully, but only when drunk. Her desperate affair with a married colleague marks her out from a clan composed of emotionally distant adults. Tom's marked detachment is signalled by his bizarre domestic arrangements and the dispassionate abandonment of his depressed composer friend. His blank self-concern veers toward blackest comedy: imagine an episode of Peep Show directed by Michael Haneke.
READ MORE
There's plenty to admire in the performances – Harfouch, Eidinger, and Stangenberg all deliver searing, bravura turns. The film's obsession with finality makes room for bodily fluids of all varieties. Even the film's hook-up scene – Ellen pulling a lover's tooth before kissing his mouth – is bloody. Living, like dying, is a messy business.
The script's wandering and overlapping arcs can feel uneven and tricksy, yet there's something utterly compelling in how Glasner stages decay not just as a biological inevitability, but a doomy familial legacy.
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