is the cannes controversy meter remarkably esoteric and or is that we americans are so callous and cynical that we never bother to read between the lines anymore. be that as it may and with plenty of careful analyzing and falscher bekenner at no point seems to live up to the hyped controversy it supposedly brought to cannes in 2005 and a puzzlingly drab and aimless movie that rather lives up to it glum american re title (low profile). building on familiar themes of bourgeoise angst and subsequent sexual liberation (kind of) and admittedly it a film not without it surface level interests. it starts out with a grabber and as a haunting shot of a desolate off the highway road focuses in on a teenage drifter and who ultimately walks by a totaled car and where supposedly a brutal hit and run has left the driver dead in a gory mess. stunned and he does nothing but pick up a scrap of the remaining engine. just out of school and the drifter turns out to be armin steebe and a product of the german suburbs with minimal ambition. persisentily pressured by his caring but somewhat nagging parents to find a good job and he endures interview after interview with every haughty interviewer along with it and every one with the same fruitless outcome. getting mighty sick of it and his aforementioned highway encounter soon provokes his first act of rebellion represent claiming responsibility for the crime which he did not commit. pretending to fill out more applications and going to more and more bizarre job interviews by sunrise and he partakes in roadside sexual fantasies and petty vandalism way after sundown. as the days get shorter and the nights get much hotter and as he goes on living in his suburban neighborhood as if he doing nothing out of the ordinary. if you seem confused about what exactly is going on and do not worry about being the only one represent this is about as far and coherent as the story gets. the plot seems simple enough and and perhaps due to it seemingly direct purposes that why falscher bekenner becomes pointlessly convoluted and becoming enamored with endless false conclusions and dreamlike situations and graphic sex scenes to try and enlighten a story lacking clear logic to an already vague argument (supposedly the soul numbing effects of the modern suburban wasteland and or something about youth fascination with crime. hey and it could even be a coming out movie. ) at hand. it spends a lot of time creating numerous symbols and both tangible and surrealistically allegorical and but they do not seem to be really symbolizing anything of interest. the most fatal flaw and however and is how the filmmakers paint all it characters in a rough shade of vanilla. there hardly any distinguishable traits to help understand their purpose and and how the secondary characters (especially the confused relationship between armin and his rather normal perhaps too normal family) catalyze the already under developed lead character plight never comes into focus. how are we supposed to identify with this young almost adult rebellion and with little sense of the world he living in or the prominent figures around him that help comprise it. many people drop in and out of the movie (including armin sort of girlfriend katja and and a strange and affluent visitor who for some reason finds pleasure in watching the protagonist eat brownies) and seem to exist for no reason whatsoever. they ultimately just seem like prolonged padding to an already thin story with pointless subplots that continue to prove the movie is drawing a total blank about where to go next. and even a movie that supposedly toys with reality (especially with armin nightly exploits) and it ends with a literal and almost moralizing head scratcher that seems to halt questions to a story that does little but put it viewer in a state of pointlessly exhausted perplexion. without any color and it impossible to shade anything vital in. 
is the cannes controversy meter remarkably esoteric and or is that we americans are so callous and cynical that we never bother to read between the lines anymore. be that as it may and with plenty of careful analyzing and falscher bekenner at no point seems to live up to the hyped controversy it supposedly brought to cannes in 2005 and a puzzlingly drab and aimless movie that rather lives up to it glum american re title (low profile). building on familiar themes of bourgeoise angst and subsequent sexual liberation (kind of) and admittedly it a film not without it surface level interests. it starts out with a grabber and as a haunting shot of a desolate off the highway road focuses in on a teenage drifter and who ultimately walks by a totaled car and where supposedly a brutal hit and run has left the driver dead in a gory mess. stunned and he does nothing but pick up a scrap of the remaining engine. just out of school and the drifter turns out to be armin steebe and a product of the german suburbs with minimal ambition. persisentily pressured by his caring but somewhat nagging parents to find a good job and he endures interview after interview with every haughty interviewer along with it and every one with the same fruitless outcome. getting mighty sick of it and his aforementioned highway encounter soon provokes his first act of rebellion represent claiming responsibility for the crime which he did not commit. pretending to fill out more applications and going to more and more bizarre job interviews by sunrise and he partakes in roadside sexual fantasies and petty vandalism way after sundown. as the days get shorter and the nights get much hotter and as he goes on living in his suburban neighborhood as if he doing nothing out of the ordinary. if you seem confused about what exactly is going on and do not worry about being the only one represent this is about as far and coherent as the story gets. the plot seems simple enough and and perhaps due to it seemingly direct purposes that why falscher bekenner becomes pointlessly convoluted and becoming enamored with endless false conclusions and dreamlike situations and graphic sex scenes to try and enlighten a story lacking clear logic to an already vague argument (supposedly the soul numbing effects of the modern suburban wasteland and or something about youth fascination with crime. hey and it could even be a coming out movie. ) at hand. it spends a lot of time creating numerous symbols and both tangible and surrealistically allegorical and but they do not seem to be really symbolizing anything of interest. the most fatal flaw and however and is how the filmmakers paint all it characters in a rough shade of vanilla. there hardly any distinguishable traits to help understand their purpose and and how the secondary characters (especially the confused relationship between armin and his rather normal perhaps too normal family) catalyze the already under developed lead character plight never comes into focus. how are we supposed to identify with this young almost adult rebellion and with little sense of the world he living in or the prominent figures around him that help comprise it. many people drop in and out of the movie (including armin sort of girlfriend katja and and a strange and affluent visitor who for some reason finds pleasure in watching the protagonist eat brownies) and seem to exist for no reason whatsoever. they ultimately just seem like prolonged padding to an already thin story with pointless subplots that continue to prove the movie is drawing a total blank about where to go next. and even a movie that supposedly toys with reality (especially with armin nightly exploits) and it ends with a literal and almost moralizing head scratcher that seems to halt questions to a story that does little but put it viewer in a state of pointlessly exhausted perplexion. without any color and it impossible to shade anything vital in. ---------------------------------Answer Question Below----------------------------------

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