I decided to watch this movie because of Lars Eidinger. I watched the trailer for “Matilda” (not advertising at all) the appearance of the actor is unusual, something he reminded me of the young G. H. Andersen. The film begins with beautiful and fascinating music, it seems that something unusual, tragic, maybe about love is waiting ahead. I watched the film to the end, and I had a strange feeling, whether the topic raised in this film does not concern anyone, or our viewer is repelled by the ill-fated word “art house”. The film is complex, the idea of loneliness, which ends in tragedy for the heroine, loneliness, pushing on crazy acts. A thirst for love, like water and food, otherwise you can't tell. Of course, the viewer is different, no one will force you to watch or read what your mind rejects. Confronted periodically with the literature on psychopathology, I can confidently say Code Blue is a sketch of that very lonely, unhappy, rejected personality. Unyoung, lonely, almost crazy, unfortunately, such women are becoming more and more. Loneliness and lack of love, that pushes us to madness, takes away mental and physical strength. I think the movie is about it. I recommend watching.
Netherlands, horrors, drama, despondency... and deadly tenderness
A movie of details. The sky is the brightest shot. Because of the interesting installation, a lot becomes ambiguous. For example, the question is whether the guests really came to her or the table served with three cups was a game and she remained in the imaginary with her fears, reminding Alice.
The movie is full of sarcasm... When the heroine answers the question of what your beloved, long thinking describes him as “gentle”. Or rather, it turns into sarcasm at the end. Not quite an ordinary person with a quite ordinary need for love, life, human warmth. She decides the fates of other people so almost carelessly ... this confidence that she does well, that she controls something, namely death itself, naturally turns into complete powerlessness in her personal life. Moreover, she meets a misogynist and a sadist. What was supposed to be salvation turns into an end, this man, just as she predetermines her fate for the sick.
You wouldn’t advise anyone to watch it, and yet it’s a very strong and beautiful film, albeit painful.
I don’t know how to describe such a unique art house. It is a very controversial movie, but this is undoubtedly its highlight. I have not always been able to establish a causal relationship of what is happening on the screen. The degree of mild confusion gradually increased and reached its climax in the final scene, full of sexual aggression and outright cruelty. And the sudden finale further increased the effect of complete bewilderment. Let’s talk about what it was and why.
Let’s start with the name Code Blue, which can be interpreted in different ways: either the code of sadness or the medical term blue code. Since the main character works as a nurse in the hospital, I lean towards the second option. This is a signal indicating urgent resuscitation of the patient. And resuscitating Marian was necessary. Her life is as empty as her apartment. No family, no children (I believe she invented a daughter), no friends. She has only a job, and so dreary that I want to howl at the moon with despair. Every day she tinkers with old men who already have one foot in the grave. And she, like an immensely lonely and unhappy creature, helps them move the second leg there.
The character’s motivation is controversial. I was a little embarrassed that she, as a true sociopath, was collecting the trophies of her victims. But criminal psychology says that only men can feel sexual satisfaction from murder, so the main character probably did it purely out of compassion. However, a complete lack of sex life at her age was undoubtedly one of the underlying causes of prolonged depression. Just imagine how lonely a woman should be, who gets excited just because a man is standing next to her on the bus. I'm not talking about finding her in the bushes. It looks very nasty, but vividly conveys the degree of her despair.
Bien de Moor herself looks painful. She reminds me of her patients. She needed a blue code, but the discharge was too high for her. Marian dreamed of a gentle man, but agreed to what is. A very depressing tape about loneliness and indifference. I think the "blue code" in the title suggests she could have been saved. Watch only for lovers of European art house over 18 years old, because the film contains explicit scenes of violence and oppressive atmosphere. If you look at cinema from a professional point of view, it’s a powerful conceptual drama that I understand. But after it remains an unpleasant feeling of dirt, so I will not put above 7-ki.
7 out of 10
Very tense and restrained in the manifestation of emotions, a woman suffers from understandable loneliness. She's about 40. And judging by the scars on the inside of her thighs, past experience doesn't inspire her. Marian's unspent potential for caring and participation spills over to the helpless patients of a hospice for the elderly. She seems to identify with them in some way. Marian works as a simple sister, but often takes on a much more significant mission. Attempts to become necessary to someone else are not completely successful.
A monotonously dark film that intertwines themes of death and female loneliness. The suicidal atmosphere of the proximity of the Great Frontier is exciting in places. But empathizing with the heroine is not easy - as a character she is schematic. We don't know anything about it, and we don't see much of its live reactions.
In theory, such a situation is quite imaginable. However, in such cases, life-saving cats-dogs usually settle in the apartments of women. Not here.
Scenes of sexual violence are shown with the naturalism characteristic of female directing. It's normal. But the main rapist is so mercilessly naked in every sense that it is difficult to justify it with purely artistic tasks.
You don’t have to watch Code Blue, it’s a bad movie (I think so).
Watch Bien de Moor, a mysterious teenage woman who is almost fifty. For the sake of this actress, it is not a pity to endure the lack of a plot, and painful details, and much more, which I define for myself as “European cinema with a placebo effect.”
Maybe I just don’t understand female directing – I get burned again. Urszula Antoniak told a story in which there are almost no events, many pauses, and what happens fits into some system that is inaccessible to me, emotional-sensual realism without commas and dots: at first everything was complicated and there was not enough sex, then sex came, and immediately it became sad. Tears, shower, curtain.
Almost an hour and a half of screen time is given to be torn by a rumble, overwhelming and sharp, like a razor, emptiness.
Here the bony maiden sleepily slides through the hospital wards - she is a nurse and a bit of a murderer, with tenderness strokes the hands of her wards, keeps things left alive, reads gray lips. Personal life, of course, does not add up. The apartment is new, the furniture is not arranged, the cat is not, the walls are white - sterile. Unexplained inner complexity prevents normal enjoyment of life. In addition to bandages and droppers, Marian is interested in strangers on buses and rape peeping through the window. Friends are secondary, with colleagues manage to throw a couple of squeezed phrases ...
I can’t call it an attempt to analyze other people’s lives, or a reason to think about the strange people around us. Time is rapidly changing, traditions and rules are disappearing - the canvas on which life was built before. A person is freed from old complexes and fears, so that new ones immediately fill their place. There is no one to ask for advice - in a world of glass and concrete, the usual truths lose their power. Now everyone invents his own commandments, other people's sins do not violate external boundaries. Man has gained a little more freedom, but he is forced to flounder in it alone or look for his own kind.
I think more and more movies are coming out about it. The authors look at their characters in a magnifying glass, without making any conclusions. It's just a new species, it just hasn't been talked about yet or it hasn't been done that way.
The result was a beautiful picture, full-blooded images, musical embroidery and a complete zero at the end.
Wow. Wow. You need to be warned! (stunned reaction of the wife)
Thin and thin Marian works as a nurse in the intensive care unit. Her patients are elderly people for whom incoming relatives have given up all hope. Marian sympathizes with them, perhaps too much, because her help sometimes looks strange.
The heroine of the code of sadness is also hopelessly ill, only her own, her own disease. Her house looks more sterile than a model Dutch hospice. Although the comparison with the latter is not too correct, because the dying are surrounded by household things, and in the white apartment of Marian with a single bed there are not even curtains on wide windows, behind which there is a coded sky blue.
There are not many plot twists in the picture, as well as words. Hospital - home - random man on the bus - party - home - and... Unpleasant surprise for, shall we say, family viewers. In fact, he is not the only one, since the picture immediately declares a high degree of tolerance, in the first shots demonstrating her majesty death. Without blood, without Hollywood cries of “no-e-e-e-e”, but with documented symbolism: only a dimly lit face, a minute ago alive, and no longer.
The same process, stretched out for an hour, is observed with Marian. The prologue of history acts as a kind of sublimation of the moodal worldviews of the author. Ursula Antoniak, director and screenwriter, is making a second, much more shocking film than Nothing Personal. Perhaps here the personal is just incomparably more, and perhaps it is just an experiment, or a tribute to postmodern fashion, or an equivoc towards Elfrida Jelinek with her Lust and Lovers.
Anyway, but family viewing in this case is better to avoid. Even if you're young, full of energy, and have taken up kissing spaces. For cinema discourages every hunt for feats. The man here is a kind of sexual freak, rather unhappy properties, despite the carnal power and erogenous penis, without any hypocrisy shoved into the center of the narrative frame. And the thinness of a woman, multiplied by cinematographic means, leaves thoughts of the beautiful in the far, far away, located thirty lands from the local kingdom of despondency.
Why everything is so sad - Antoniak does not give an answer. As well as not evaluating, not screaming and not condemning. Code blue is the code of death in intensive care, and in a professional environment it is not a tragedy, it is an everyday statement of fact. After all, in addition to blue codes, there are other codes, rainbow.
But it will be completely different stories.