German Romance

An exercise in voyeurism, Maren Ade's provocatively titled, superbly performed, emotionally graphic Everyone Else is more fascinating than enjoyable. Placing a youngish, newly formed couple under relentless observation, Ade's two-hour squirmathon gets a bit more intimate on the subject of intimacy than the viewer might wish. Chris (Lars Eidinger), an...

By J. Hoberman

July 1, 2010

[
        {
          "name": "Air - MediumRectangle - Inline Content - Mobile Display Size",
          "component": "19274298",
          "insertPoint": "2",
          "requiredCountToDisplay": "2"
        },{
          "name": "Editor Picks",
          "component": "17482312",
          "insertPoint": "4",
          "requiredCountToDisplay": "1"
        },{
          "name": "Inline Links",
          "component": "18711090",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Air - MediumRectangle - Combo - Inline Content",
          "component": "17482310",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Inline Links",
          "component": "18711090",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        },{
          "name": "Air - Leaderboard Tower - Combo - Inline Content",
          "component": "17482313",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        }
      ]

An exercise in voyeurism, Maren Ade's provocatively titled, superbly performed, emotionally graphic Everyone Else is more fascinating than enjoyable. Placing a youngish, newly formed couple under relentless observation, Ade's two-hour squirmathon gets a bit more intimate on the subject of intimacy than the viewer might wish.

Chris (Lars Eidinger), an underemployed architect, and Gitti (Birgit Minichmayr), a middling music-industry publicist (for a band called the Shames, no less), take a week to culture their relationship in the petri dish of his parents' haute-bourgeois, kitsch-stuffed Sardinian villa.

Everyone Else is concentrated enough to become experiential. Ade's exploration of intimacy and its discontents recalls the European relationship epics of 35 years ago — Rivette's L'amour fou, Bergman's Scenes From a Marriage, Jean Eustache's The Mother and the Whore — but it's purposefully down-sized and set in a lower key. Ade has an acute sense of gesture. The tumult ends with a simple request that more or less recaps the entire movie: Chris asks Gitti only to look at him.
Wed., July 7, 9:10 p.m., 2010

KEEP NEW TIMES FREE... Since we started New Times, it has been defined as the free, independent voice of Miami, and we'd like to keep it that way. Your membership allows us to continue offering readers access to our incisive coverage of local news, food, and culture with no paywalls. You can support us by joining as a member for as little as $1.