Stations of the Cross (2014)

Very disappointing...

Perfect cast and a good story

How sad is this?

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

'Stations of the Cross' tells the story of the life and death of a young, and very religious, girl, by analogy to the 14 eponymous icons of Jesus's death that are typically displayed in a Catholic chuch; the point is further made by framing the story as 14 scenes, each filmed with a static camera. At first, the movie seems boring, in part because of the lack of camera movement; but as we get to know the characters, it becomes an increasingly intense, and occasionally moving, experience. What is less clear is the exact purpose here: a denounciation of an austere Catholic sect, and a mother figure devoid of the capacity for love, are clear, but the idea that evil can lurk behind claims to be good is scarcely revolutionary, and the absence of any trace of humanity in the film's most monstrous figures is a weakness. In places it reminded me of 'Breaking the Waves', but without any of that film's playfulness.

A story of extreme religious conviction, Stations of the Cross left me in a profound state of sorrow for a character who never realised the insanity of their actions.Maria is raised in a devout Catholic family, with a domineering mother instilling guilt over any slight indication of sin (of which there are no bounds) and her local priest continuing to give Maria a sense of moral failure, that she must thrive for God's love no matter how horrific the consequences.The narrative's dogmatic nature is intensified by Anna Bruggemann's script, whose use of characterisation creates thoroughly vivid individuals whose actions serve to enforce (depending on your ideals) our own sense of morality. The static cinematography is another effective tool in reflecting the characters' dogma. It lets audiences become further embedded into Maria's tormented existence, feeling dismayed with each dire choice she makes.As the final scene played out I couldn't help but think Maria's life was wasted, missing out on a life's worth of wonder in exchange for a belief that enforced repression. Station of the Cross is an powerful study of religion's morbid nature.

This movie will make your blood absolutely boil. If ever you needed proof that organized religion is a destructive, delusive, maniacal force that brings misery to people's lives, this movie is it.Almost anything I might say here about the movie would be something of a spoiler... You just need to see it, from the beginning, and let the story make its simple, compelling case.This movie is almost kind of a modern, real-life, thinking-man's CARRIE-- (the Stephen King story). It is sly, smooth, seamless, cool and compelling in tone and style.Filmically, this movie carries on in the recent tradition of German films like REQUIEM (2006, dir. Hans Christian Schmid) and PARADISE:FAITH (dir. Ulrich Seidl, 2012) which deeply question the value of Christian brainwash in modern society, especially a society like Germany's, with its devotion to science. Essentially, these three movies show how religion... makes people batshit crazy, and makes them do cruel, mindless, absurd things.If you're not foaming at the mouth by the end of this picture-- with indignant rage-- check your pulse. Some have blithely blathered that this movie is a religious tale of a girl's sainthood. That's SO not what this movie is saying; the director wanted to light a torch under your backside, pure 'n' simple.

I have to admit that the mere mention of words like Catholicism and Stations of the Cross, particularly in the same sentence, makes me want to turn heel and run in the opposite direction. As a catholic, I spent my early childhood at church every Sunday morning, praying up and down on my knees (hurting) on old wooden kneeling benches, hearing service in English (and Latin) all whilst staring at 14 paintings of…you guessed it… the Stations of the Cross, positioned equidistant from each other along both sides of the church. I was taught (*coughed* 'indoctrinated') by old school nuns in habits and remember making up the strangest sins to confess at confession (I failed to share Milo with my brother…a lot). And yet, one can't help but be drawn in by the form, technique and understated beauty of Dietrich Brüggemann's (MOVE, NEUN SZENEN) moving painting STATIONS OF THE CROSS. Powerfully constructed into 14 fixed angled long shots, 12 of which are static (meaning the camera stays in a single position), each shot is its own chef d'oeuvre. The setting within each frame along The Way from 'Jesus is Condemned to Death' to 'Jesus us Laid in the Tomb' exude pious restraint, allowing the actions and catechistical dialogue to convey Maria's (Lea van Acken) youthful conflictions regarding her love for God, her family's fundamentalist beliefs and its place in modern society.In the week leading up to her confirmation in the puritanical 'Society of St Paul', protagonist Maria finds herself increasingly anxious and examining as she tries to find a balance between living up to the mature expectations of her extremist faith, pressures emanating from home, and the ridicule she endures from classmates over her religion. She decides to follow the path Jesus took and give up her life for her three year old brother Johannes who has never spoken a word. As she traverses her Way, she 'Falls for the First Time' when she meets fellow school student Christian (Moritz Knapp) who invites her to attend his choir practice at a different congregation. Flattered by his attentions, Maria decides to withhold certain details from her controlling and virtuous mother (Franziska Weisz) who would be aghast over the singing of soul and gospel music that she believes contains 'Devil rhythms'. Becoming increasingly burdened by her wrongdoing, Maria confesses her transgression to her priest who relieves her of her venial sins, due to her innocent mind and unknowledgeable heart. Instilled with the dogma sin – confess - repent, Maria returns to her enlightened path, eschewing Christian's attempts at friendship and the use of 'Devil Rhythms' in her gym class (this particular scene is an entertaining relief in an otherwise austere and reflective film). I won't enlighten you on the rest of her journey in the hope that you engage yourself in this complex yet rewarding story. The film takes a realistic position in its observations of fundamentalist religion and the devastating affects it could have on innocent minds if left unguarded. Van Acken is compelling as Maria whilst Weisz is particularly thrilling in 'Jesus' Clothes are Taken Away' when Maria's doctor challenges her maternal competencies. STATIONS OF THE CROSS is a hidden gem worthy of much greater traction than what it will undoubtedly receive. An art-house film at its finest. You can catch more at my Twitter handle theSachaHall and The Hollywood News.