Keinohrhasen

Love finds a tabloid journalist in an unexpected place in this romantic comedy from Germany. Ludo (Til Schweiger) is a reporter who has enjoyed a successful career documenting the peccadilloes of the rich and famous with the help of his photographer sidekick Moritz (Matthias Schweighoefer). But a run-in with boxerWladimir Klitschko and his fiancée Yvonne Catterfeld at a party turns into a food fight and Ludo is charged with disturbing the peace. Ludo is ordered to perform three hundred hours of community service at a children’s day care center, which is especially bad news since Ludo doesn’t care for kids. Ludo finds himself working side by side with the center’s director, Anna Gotzlowski (Nora Tschirner), who had an unfortunate run in with Ludo when they were children and doesn’t like him any more now than she did then. Anna goes out of her way to make things difficult for Ludo, but in time he begins to get the hang of his new assignment, starts bonding with his young charges, and even enjoys a brief fling with a sexy single mom (Brigitte Zeh). But as Ludo’s soft side begins to surface, Anna finds herself increasingly attracted to him, and the antagonists discover they’re falling in love.Keinohrhasen was written and directed by leading man Til Schweiger, and was a major box office hit in Germany.

Edge of Heaven

There are six principal characters in “The Edge of Heaven”: two mothers, two daughters, a father and a son, all arranged in more or less symmetrical pairs. In the course of this extraordinary film by the German writer-director Fatih Akin (which won the best screenplay award in Cannes last year) children are lost, lost parents are never found, and generational and geographical distances grow wider. Yet at the same time, as the lives of the characters cross and entwine, there is a sense of human connections becoming stronger and thicker, of a fragile moral order coalescing beneath the randomness and cruelty of modern life. And even as the movie bristles with violence — accidental and systematic, sexual and political — its tone is curiously gentle. — A. O. Scott, The New York Times