Veronica Ferres Movies

Director Vivian Naefe's 2006 Die Wilden Hühner (The Wild Chicks) jump-started one of the most commercially successful German franchises of the early 21st century, with its tale of a clique of five girlfriends, navigating that rocky journey from childhood into adulthood. The third installment, 2009's The Wild Chicks and Life, marked the first film in the series since 2007's The Wild Chicks in Love. This time around, the young women are now 14 years old and find themselves wrapped up in the throes of middle school adolescence. Melanie (Sonja Gerhardt) quietly struggles with her own personal secret and a burning need to confide in her friends, while Sprotte (Michelle von Treuberg) feels seriously out of touch with the surrounding world. Each of the other members also deals with a quiet personal struggle, but they ultimately find that the intimacy of friendship helps them bound over the differences and brings them closer. ~ Nathan Southern, 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

Raúl Ruiz's Klimt uses an amorphous, nonchronological narrative to cinematize events from the life of one of the 20th century's most profound artists: the Austrian painter Gustav Klimt (here portrayed by John Malkovich). Ruiz begins with Klimt's painful death from syphilis, and spends the remainder of the film transitioning, loosely and freely, between episodes that befell the painter. The film pays particularly strong attention to the artist's proclivity for scandalizing the European upper crust with overtly erotic subject matter and presentation, and his many affairs -- notably a lengthy one with his perpetual inspiration, Lea de Castro (Saffron Burrows). Throughout Klimt's life, a figure known as the Secretary (Stephen Dillane) comes and goes, who is actually a product of his fevered imagination -- and with whom the painter debates continually about the function of art in contemporary Western civilization, and the relevance of the artist. This enables Ruiz to create both a biographical sketch and a philosophical treatise. Visually, Ruiz and director of photography Ricardo Aronovich make the ambitious decision to recreate Klimt's style of painting on a cinematographic plane.

Unfortunately, difficulty befell this picture from the beginning, when the director (for some unascertainable reason) opted to draft the initial script in French, have it translated into German, and then have the German draft translated into English and revised by author Gilbert Adair -- rendering the dialogue stilted and unconvincing. Complications also arose on the distribution end. Still infuriated by the distributive mutilation that befell his previous film, the whopping Time Regained (and doubtless concerned that this might happen again), Ruiz pliantly struck a bargain with distributors for Klimt. He trimmed his original, 135-minute "director's cut" down to a 96-minute "producer's cut" for general consumption, which rendered much of the material less fluid and coherent. Both versions screened at the 2006 Rotterdam Film Festival. ~ Nathan Southern, Rovi

Victor Hugo's classic story of one man's struggle to redeem himself -- and another man's efforts to bring him down -- is brought to the screen again (there have been at least 18 previous screen adaptations) in this epic-scale television production with a distinguished international cast. Jean Valjean (Gerard Depardieu) is a man forced by circumstance into a life of crime when he steals bread to ease his hunger, ending up behind bars for 19 years. Upon his release, the destitute Valjean attempts to rob the home of a bishop, but the bishop takes pity on him, and Valjean turns over a new leaf, becoming an honest and upright businessman and civic leader. But Javert (John Malkovich), a former guard at the prison where Valjean served time, is now the Chief of Police, and he's determined not to let Valjean live down his criminal past. Les Miserables also features Jeanne Moreau, Virginie Ledoyen, Christian Clavier, and Asia Argento; the miniseries was produced in two versions, a French-language version for European television that ran eight hours, and a four-hour English-language adaptation that was broadcast in a pair of two-hour installments on January 7 and 8, 2001, on the Fox Family Channel. ~ Mark Deming, Rovi

John Malkovich and Lorraine Bracco star in this offbeat drama set in women's restrooms. The first half of the film tells of three actresses forced to prepare for their performance in the same bathroom because their dressing rooms are flooded. Veteran actress Gemma (Bracco) is stunned by the anger and pessimism of her younger counterpart. In the second half, Italian Lauren (Veronica Ferres) goes to the opera with her lover Roberto (Malkovich) only to learn his true nature when she runs into his pregnant wife in the ladies room. Ladies Room was screened at the 1999 Montreal Film Festival. ~ Jonathan Crow, Rovi

This German farce has fun parodying the local filmmaking industry and some its more popular stars as it tells the riotous tale of a neglected, lonely Munich housewife who writes a tawdry best-selling account of her sexual past. The situation begins when Franziska, the wife tires of hanging around the house raising two mischievous children while her husband the television director gallivants to far-flung locales sleeping with every actress in sight. She has a conversation with an understanding lawyer and through miscommunication ends up launching divorce proceedings. It is the lawyer who advises her to write down her erotic history. Later, an old high school flame turned publisher sees her manuscript and suggests she publish it as an erotic novel using a pseudonym. Things go swimmingly until her husband buys the film rights and decides to turn it into a trashy movie. This film was extremely popular in Germany. ~ Sandra Brennan, Rovi

In this political comedy, a right-wing political party is looking for a suitable spokesman to make their ravingly eccentric positions acceptable to the general public. They find an out of work actor (Harald Juhnke) to serve as their "parrot," and at first it looks as though they have chosen well, as their popularity is now on the rise. However, they hadn't counted on the poor man having something they themselves apparently lack: a conscience. This made-for-television movie was so well received during its scheduled airing that it was later released as a movie. ~ Clarke Fountain, Rovi

In this slapstick satire, Fritz is a life-long forger of Nazi memorabilia. He got his start as a boy, selling items of clothing as something Hitler wore. His current income-generating scam is to sell "original" portraits by Hitler of his mistress Eva Braun to connoisseurs of Nazi art. He runs into an ambitious journalist who works for a tabloid-style magazine (a thinly disguised "Der Stern"), and the two of them concoct a scam which will garner headlines for the journalist and plenty of cash for the forger. With some care, Fritz creates "Hitler's Diaries," and his creations become a household word before the scam is uncovered. Film buffs may recognize the title of this film as a term Charlie Chaplin used in The Great Dictator to refer to Hitler. This satire hews pretty closely to the actual news story it is based on, but the movie plays it strictly for laughs, a tactic which won great popularity for it in Germany. ~ Clarke Fountain, Rovi