| Videos (see all 10 NOUVEAU) |
| Elmar Wepper | ... | Rudi Angermeier | |
| Hannelore Elsner | ... | Trudi Angermeier | |
| Aya Irizuki | ... | Yu | |
| Maximilian Brückner | ... | Karl Angermeier | |
| Nadja Uhl | ... | Franzi | |
| Birgit Minichmayr | ... | Karolin Angermeier | |
| Felix Eitner | ... | Klaus Angermeier | |
| Floriane Daniel | ... | Emma Angermeier | |
| Celine Tanneberger | ... | Celine Angermeier | |
| Robert Döhlert | ... | Robert Angermeier | |
| Tadashi Endo | ... | Butoh Dancer | |
| Sarah Camp | ... | Butcher | |
| Gerhard Wittmann | ... | Doctor #1 | |
| Veith von Fürstenberg | ... | Doctor #2 |
Réalisé par | |||
| Doris Dörrie | |||
Scénaristes | ||
| Doris Dörrie | (screenplay) | |
Musique originale | |||
| Claus Bantzer | |||
Image | |||
| Hanno Lentz | |||
Montage | |||
| Frank C. Müller | |||
| Inez Regnier | |||
Distribution des rôles | |||
| Nessie Nesslauer | |||
Création des décors | |||
| Bele Schneider | |||
Création des costumes | |||
| Sabine Greuning | |||
Maquillage | |||
| Evelyn Döhring | .... | makeup artist | |
Directeur de production | |||
| Olaf Schmidt | .... | production manager | |
Assistant réalisateur | |||
| Ruth Stadler | .... | first assistant director | |
Département Art | |||
| Stefan Balzer | .... | property master | |
Technicien du son | |||
| Christof Ebhardt | .... | sound designer | |
| Gregory Fernandez | .... | boom operator | |
| Lisa Geffcken-Reinhard | .... | foley editor | |
| Monika Gussner | .... | adr editor | |
| Magda Habernickel | .... | sound editor | |
| Jose A. Manovel | .... | sound re-recording mixer | |
| Marc Parisotto | .... | production sound mixer | |
| Jörn Poetzl | .... | foley artist | |
| Philipp Sellier | .... | foley recordist | |
Visual Effects | |||
| David Laubsch | .... | digital compositor | |
| Stefan Tischner | .... | digital compositor | |
| Tobias Wiesner | .... | digital compositor | |
Caméra et Département Electrique | |||
| Michael Beitz | .... | gaffer | |
| Kerstin Stelter | .... | still photographer | |
| Jitsu Toyoda | .... | assistant camera | |
Dpartement Editorial | |||
| Jana Krohn | .... | assistant editor | |
| Bettina Reitz | .... | commissioning editor | |
| Hubert von Spreti | .... | commissioning editor | |
Département Transport | |||
| Antonia Eigner | .... | production driver: Allgäu and Munich | |
| Wolfgang Rudolf Schön | .... | production driver: pre-production Munich and Allgäu | |
Divers | |||
| Tadashi Endo | .... | choreographer | |
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| The Constant Gardener | La science des rêves | Lost in Translation | Tôkyô monogatari | Tetro |
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IMDb Note Générale:
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Drame section | IMDb Allemagne section | Add this title to MyMovies |
Doris Dörrie's "Cherry Blossoms" - opening "Berlin and Beyond" Thursday, in U.S. release on Friday - has two original titles, one in German: "Kirschblüten," which means cherry blossoms, and another in Japanese: "Hanami," which doesn't.
The Japanese equivalent to the English and German titles would be "sakura"; "hanami" is a national ceremony/celebration/holiday of WATCHING the blossoms open. Dating back to the 8th century, hanami is an event without parallel outside Japan.
The difference between the titles is a subtle, but meaningful message. Just as the blossoms in themselves are different from the veritable cult surrounding them in Japan, Dörrie's characters live in two different worlds, acting differently, first clashing (similarly to "Lost in Translation") and then - somewhat mysteriously - cohere. With this complex, effective, and moving story, Dörrie, who has spent more than three decades writing and directing "interesting and different" films of varying quality, has reached a pinnacle of her career. (She owes a debt of gratitude to Yasujiro Ozu, especially his "Tokyo Story.")
"Germans and Japanese," Dörrie has said, "are really very much alike incredibly repressed and very irrational at the same time." This vague and rather ridiculous generalization actually seems to come to life in "Cherry Blossoms."
One of Germany's best-known TV stars, Elmar Wepper, appears in his first movie role, and he nails the character of Rudi Angermeier, a cartoonishly ordinary man on an extraordinary journey. Unknown to him, he is near the end of his life, as he slowly, believably emerges from a stolid German middle-class life of unvariable routine to traverse distance and radically different cultures, all the way to Mount Fuji, dancing butoh.
There are two remarkable co-stars along Rudi's adventure: his wife, Trudi, played by the glamorous actress Hannelore Elsner, appearing heroically unglamorous here to fit the role of a plain housefrau; and Aya Irizuki as Yu.
Yu is one of those rare cinematic creations, a character you may not understand, but one who will stay with you. This waif, runaway, street artist is as bizarre a representative of Japan as - going back to "Lost in Translation" again - Bill Murray's Premium Fantasy woman ("Rip my stockings!") and yet she also evokes Giulietta Masina's character in "La Strada," a couple of continents away.
Watching Rudi and Yu under the cherry blossoms, with the strangely elusive Mount Fuji in the background finally peeking out from behind the clouds, is among the more memorable scenes in contemporary cinema.