‘Traumnovelle’ Review: German Adaptation of Novella That Inspired ‘Eyes Wide Shut’ Leans Hard into the Lurid

As a seasoned gamer of cinema, who’s navigated through countless films and genres with a voracious appetite for the unusual and the erotic, I must say that Traumnovelle is an intriguing expedition into the realm of dreams and desires, albeit one that left me yearning for more substance.

It requires boldness, to put it simply, for a director to remake a story previously adapted by Stanley Kubrick, as is the case with Florian Frerichs and his film “Traumnovelle”. This movie is based on the same 1926 novella that inspired Kubrick’s last film, “Eyes Wide Shut” from 1999. Unlike Kubrick, who often leaned towards coolness in his work, even when handling provocative subjects, Frerichs delivers a more faithful and erotic adaptation of the story. However, it’s challenging not to draw comparisons, which inevitably influence one’s perspective on this film premiering at the Oldenburg Film Festival.

The narrative is now set in contemporary Berlin, offering chances for striking, attention-grabbing moments like the one in the opening scene where two attractive ladies flirt with a man at a nightclub, showcasing the advantages of a vibrator app. The man is Jacob (Nikolai Kinski, son of Klaus), a doctor, who attends the club with his wife Amelia (Laurine Price, known for her role in ‘Phoenix’). Despite receiving attention from others during their outing, they faithfully return home together.

However, these events spark conversations about personal sexual feelings and aspirations, as Amelia admits to having developed an infatuation for a dashing Danish naval officer during their recent holiday. This revelation causes Jacob to react angrily and depart into the night, leading him to a succession of unusual, sexually suggestive episodes. Among these are memorable incidents such as visiting a brothel following an encounter with a captivating young woman (Nora Islei) on the street, and attending a secret sex party where everyone is obliged to wear masks.

The narrative features multiple dream-like scenes throughout, such as Jacob performing on stage in an opera and being spat upon by his co-singers; and Jacob single-handedly overpowering a group of attackers, until one of them manages to stab him in the abdomen. As Schnitzer intended, it gives off a surrealistic vibe, complete with sexual undertones like the nurse in Jacob’s office.

In this film, the director, in collaboration with Martina van Delay on the script, makes bold choices in terms of style. For instance, there’s a moment where Jacob unexpectedly breaks the fourth wall and speaks directly to the audience late in the storyline. Additionally, the director uses vivid animation, some of it rotoscoped, during a dream sequence that stands out visually but seems inconsistent with what has come before. It’s odd too that the dialogue is primarily in English, with occasional brief German phrases, reminiscent of old World War II films.

The story of “Traumnovelle” is undeniably engaging, largely due to its intriguing and vivid subject matter. However, at times it seems reminiscent of the kind of soft-core erotica that used to appear late at night on cable TV, such as “Red Shoe Diaries.” (Instead of contemplative reflections by David Duchovny at the end, we are given a quote from Sigmund Freud.)

Kinski, who’s onscreen for virtually every minute, is a compellingly offbeat screen presence, more convincing in his journey down the sexual rabbit hole than Tom Cruise ever managed to be. His performance is one of the stronger elements in a film that never quite lives up to its considerable ambitions.

2024-09-14 20:54

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