Joachim Krol Movies

The remarkable life of one of France's most influential leaders is dramatized in this stylish historical drama. In 16th Century France, political power walks hand in hand with religion as the Royal Family are devout Catholics and Huguenots (early Protestants) are treated as second-class citizens. Henry (Julien Boisselier) is a Huguenot military leader who has become a hero in Navarre, a territory in Southwest France, and as Nostradamus (Fritz Marquardt) predicts a remarkable future for him, he is introduced to Catherine de' Medici (Hannelore Hoger), the Catholic queen of France. Catherine clearly holds power over feeble-minded King Charles IX (Ulrich Noethen), and she is keen on holding on to her position by seeing her sons go on to rule the nation. But as the Huguenots become restless and Henry looks to be the potential leader of a revolt, Catherine arranges a marriage between Henry and her daughter Margot (Armelle Deutsch), certain the alliance will stop the budding conflict. But the nuptials only leads to the infamous St. Bartholomew's Day massacre as Catholics attack Huguenots, leading to the death of thirty thousand people. Henry is captured by the Queen's army but escapes to lead the Huguenots in a war against the throne; while Henry is forced to resort to violent means, his goal is to end the fighting by establishing religious freedom and ending faith-based rule in France. Henri 4 (aka Henry of Navarre) was originally produced as a mini-series for European television; it was also edited into a theatrical feature, and this version was an official selection at the 2010 Berlin International Film Festival. ~ Mark Deming, Rovi

Author Yoram Kaniuk's celebrated 1971 novel concerning a charismatic yet questionably sane Holocaust survivor comes to the screen in this dark drama starring Jeff Goldblum, Willem Dafoe, and Derek Jacobi. In the years before World War II, Adam Stein (Goldblum) was a Berlin entertainer who thrilled audiences with extravagant circus acts and spectacular magic tricks. Later, when Hitler took power and Europe was plunged into chaos, Stein and his family were locked away in a concentration camp presided over by the sadistic Commandant Klein (Dafoe). The only reason Stein survived those dreadful years was because he managed to become the commandant's personal "dog," entertaining his captors even as his wife and daughter are marched off to die. Flash-forward to 1961, when Stein is a patient at an Israeli mental hospital for Holocaust survivors. Seemingly able to read minds, Stein confounds head doctor Nathan Gross (Jacobi) with the question "Who brought a dog in here?" Despite Gross' vehement denial that any such animal is on the premises, Stein soon tracks the scent to a young boy who has spent his entire youth locked in a basement and chained to a wall. Over time, Stein and the boy see in each other something undeniably familiar, and the two kindred spirits set out on a remarkable journey together. ~ Jason Buchanan, Rovi

An elusive hit-man whose targets never see him coming and who always manages to disappear without a trace is forced to risk it all after falling for a mysterious woman in director Mennan Yapo's dark crime thriller. Viktor (Jaochim Król) is a stealthy killing machine with a reputation for consummate professionalism. A chance meeting with a beautiful blonde (Nadja Uhl), however, buts more than Viktor's career at stake when the police lock onto the trail of the killer and the only way to escape the long arm of the law is to execute the most daring plan imaginable. ~ Jason Buchanan, Rovi

Director Sergei Bodrov takes a break from his usual socio-political dramas in Bear's Kiss, a surreal fairy tale following Lola (Rebecca Liljeberg), the 14-year-old daughter of long-time circus employees, and her love affair with a shape-shifting bear who calls himself Misha (Sergei Bodrov Jr.). When her father, Marco (Maurizio Donadoni), is killed in a tragic car accident, the circus caravan travels to Spain, where several gypsy fortune-tellers explain the mysterious art of shape-shifting and the responsibilities it entails. ~ Tracie Cooper, Rovi

Rolf Schuebel makes his directorial debut with this subtly-told true story about one the 1930s' most memorable melodies. Set just prior to WWII, the film focuses on Hungarian beauty Ilona (Erika Marozsan) and her significant other Laszlo Szabo (Joachim Krol), a dapper owner of Budapest's finest restaurant. Though Ilona is known for her prowess on the piano, the two decide to hire a professional as the finishing touch on their classy establishment. They hire Andras (Stefano Dionisi), a taciturn man with a certain mysterious charm. Meanwhile, regular customer and German businessman Hans (Ben Becker) finds himself utterly and completely smitten with the vivacious Ilona. When she spurns his advances, he drunkenly jumps into the Danube. Laszlo manages to rescue him and the three grow to become close friends. At the same time, Andras and Ilona grow to be something more than friends, and -- with the knowledge and approval of Laszlo -- they become lovers. Later, Andras composes a tune dedicated to his new consort and Laszlo quietly arranges for a couple of Austrian record execs to come to the restaurant to listen. Oozing with jaded ennui, the song, sans lyrics, quickly becomes an international success, yet it also seems to cast a dark spell over listeners -- people cannot help but commit suicide. In Hungary alone, 157 people killed themselves in the span of eight weeks. At the same time, the Third Reich marches into Austria. As the film progresses, Hans returns to Budapest, this time as an SS officer. There he offers Laszlo, who is Jewish, and who offers him free passage in exchange for money. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, Rovi

Tom Tykwer directed this German thriller in which Manni (Moritz Bleibtreu) handled a smuggling job, delivered the loot, collected the payment, left the bag on the subway, and now has 20 minutes to gather 100,000 deutsche marks or confront the wrath of his boss, local criminal Ronnie (Heino Ferch). Desperate, Manni phones his girlfriend Lola (Franka Potente) who immediately runs downstairs and through Berlin streets to the bank run by her father (Herbert Knaup). However, she's rejected and leaves minus money. When she goes to meet Manni, he's holding up a supermarket, and she's shot by the cops. In a destiny device familiar to readers of Ken Grimwood's acclaimed novel Replay, the story begins anew with different outcomes. In one version, Lola robs the bank and takes her father hostage; in another, there's casino cash to be won. All Lola-Manni scenes were in 35mm, while scenes without them were shot in video. Other cinematic techniques on display here include whip pans, jump cuts, slow and fast motion, split-screen, intercut color and black and white, segment titles, and animation. Shown at 1998 film fests (Venice, Montreal, Toronto). ~ Bhob Stewart, Rovi

One of Germany's most important female directors, Doris Dörrie chose the subject of the universal quest for happiness for the film Bin ich Schön?. Set in Spain and Germany, the film interlaces individual stories of broken hearts and broken dreams with aspirations of new beginnings. On a hot afternoon in Spain, Linda is standing beside the road wearing a thin summer dress and carrying a handbag. A car stops and Werner, a robust-looking German, picks her up. She shows him a note which says, "I am deaf-mute and in need of your help." Werner is touched. As they move off together, Linda throws her handbag out of the window. In a near-by motel, Klaus is on the phone to Munich trying to convince his reluctant girlfriend Franziska to come down to Spain. Linda and Werner have checked into the next room where Werner is asking Linda to hit him with his belt. Plots and subplots intertwine until the film reaches a climax during a religious procession. In an ironic way, the film celebrates life with a message that life is here today and then it's gone. No beginning, no end and enjoy it while you can. Bin ich schön? was screened as part of the New German Films at the 49th International Berlin Film Festival, 1999. ~ Gönül Dönmez-Colin, Rovi

A mismatched couple find themselves trying to work out their many differences with a four-month winter blackout looming before them in the romantic comedy-drama When the Light Comes. Ellen (Francesca Vanthielen) is a college student looking for an unusual summer job and seems to have found one when she gets work on a ship sailing into the Arctic Circle, where she starts to get friendly with a handsome sailor named Robbert (Rick Engelkes). However, during a quick stop to pick up supplies, Ellen impulsively jumps ship to find out what the life of an arctic trapper is like, and soon finds herself hooked up with Lars (Joachim Krol). Lars doesn't really know what to say to Ellen, and, even if he did, they wouldn't understand each other anyway -- she speaks English and he Norwegian. He also has a hard time keeping his hands to himself -- no great surprise, since for the last several months his only companions have been a pack of sled dogs. In time, Lars learns enough English to be able to communicate with Ellen, and her youthful spunk starts to mesh with his man-of-the-land personality. But will Ellen give Lars what he's so obviously interested in, or does she still have Robbert on the brain? ~ Mark Deming, Rovi

The characters in this German romantic comedy that follows a 30-year old single woman searching for love, have a distinctly Felliniesque quality to them. Fanny Fink desperately wants a man. Her closest male friend is Orfeo, a gay con-man who claims to be a self-taught African witch doctor. For a price, Orfeo agrees to conjure up Fanny's dream lover. What she gets is the creepy building supervisor Lothar. Meanwhile, Lothar, who believes he is about to be killed and abducted by aliens, suddenly disappears taking Fanny's money with him. Fanny learns an valuable lesson and eventually finds her man, a man who has been there all along. ~ Sandra Brennan, Rovi

This German psychodrama looks into the events that lead an introverted woman into taking extreme action against her oppressors. Poor Maria has spent her life being ignored and pushed around by men. First there was her invalid father whom she waited on hand and foot. Then there was her cold and emotionally distant husband. Maria has been internalizing her rage for years. Her anger finally erupts when her husband takes the little bit of money she'd been secretly saving over the last few years. She kills both her husband and her father. The film ends with her new boyfriend's distressed facial expression as he learns of her murders. ~ Sandra Brennan, Rovi