Admirable film.

There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Mostly, the movie is committed to the value of a good time.

I thought this picture captured the yearnings of love in old age better than some I've seen. Ms Werner paints a wonderful portrait of a woman who comes of age in a different way. In this triangle, (That's a poor way to describe it.) a woman, this time is the one who is responsible, given great measure to the unpleasant result. If a man were the cause, he could more easily walk away. This movie demonstrated that cuddling is not enough for some elders. Erotic yearnings are never lost in some; most elders find distractions. I liked this picture a lot. But why did I concern myself with whether the husband died of heartbreak or was a suicide.

This may be a good film. I have not the faintest idea in terms of how it develops beyond the first half hour, as that is all I could take before I feared that terminal boredom would get me for sure and I put on my recording of "Destry rides again" (James Stewart/Marlene Dietrich) to bring me back to life! I have heard that watching paint dry can be tiresome, but I found this, with its interminable panning shots and mumbled dialogue, the equivalent of listening to someone watching paint dry! No thanks/life's too short (as I presume was "the message" of this rambling cinematic outing????)Why DO so many German films have to be such stodgy, indigestible, s - l - o - w affairs? "Run, Lola, run" proves beyond the slightest doubt that they do not have to be!

"Wolke 9" German film title for 'Cloud 9'. The subject may not be so novel, it's about love and marriage, or you might say relationship 101 revisited. Yet the aspect of falling in love afresh for a woman at 67, discovering her erogenous zones and feelings with a new beau of 76 and thereafter certainly made us open our eyes and care for the persons involved. What does one do back at home with the husband of 30 years of marriage? What is the husband like? She tries to fight it as social norm expects, but this falling in love again feeling is irresistible. It's enchanting passion. It's an opportunity to take a look at what's really happening to one's stage in life at hand. And is the 76-year old lover worth the 'trouble' - what is he like? And we are also introduced to the daughter - what does she thinks of her mother's secret? Director Andreas Dresen, who co-wrote the screenplay with three other writers, has given us a natural happenstance of love affairs, exceptional in the sense that the story exclusively revolves around 'older' maturing-age people - a theme seldom seen on screen. It's heartening to be able to appreciate the straightforward approach to the love-making scenes that are intimately explicit, accepting the anatomy of matured bodies, wrinkled or soft. Any nudity scenario is not at all gratuitous but simply befitting to what's happening at the particular moment of the 'storyline'.Inge, our 67 year old heroine of the story, is portrayed with impressive naturalness and emotional depth by Ursula Werner - best actress awards well-deserved. Karl, the refreshing energy source for Inge, is remarkably played with vitality by Horst Westphal - yes, we want to go cycling, swimming, attend racing events and run in the rain with him. Werner, the husband, is played restrainedly effective by Horst Rehlberg, demonstrating how listless his life has become, in spite of occasional cuddling affection in bed with Inge, spending time with grandchildren, visiting his father at convalescent home, even listening to 'choo-choo' train are just dull routines that raise no smile. He does seem so tired - of life? Inge's affair probably makes his head hurt - does he have to make extra effort to enjoy life? The story centrally revolves around Inge, hence besides the emotional ups and downs, we get to follow her going about with daily activities, including the added touch of belonging to a women's church choir, participating in rehearsals and singing songs together - comfortable camaraderie detected. (In the press kit - available on Cannes 2008 online under "Cloud 9" page* - director Dresen's comments are included, and he mentioned that it was Ursula Werner who suggested the 'choir' aspect of Inge's life.) 'Cloud 9' is worthwhile viewing and highly recommended.Films by association: I recall the Brazilian film by Marcos Bernstein, "The Other Side of the Street" 2004, contains a tender exchange scene between two older persons making love (Fernanda Montenegro as Regina and Raul Cortez as Camargo) which was sensitively delivered unabashed. Paul Cox's film "Innocence" 2000, with Julia Blake as Claire and Charles Tingwell as Andreas, also marvelously depicts a married woman falling in love again in her 'later years' - not an impossible or improbable scenario at all.* Cannes Festival - Festival Archives - 2008 - Selections - 'Un Certain Regard' - Wolke 9

I don't think there is another film in the history of cinema that examines the lives of seniors (including -- gasp! -- their sex lives) with such honesty, poignancy and, yes, accuracy as Wolke Neun (Cloud Nine). Those characters on the screen could be your parents or grandparents, and there they are, still grappling painfully with the problems of love after all these years. This is a powerful film that is about much more than a mere examination of old people f***ing. Despite the typical stress on the (non-explicit) sex, it is a film more about the discovery of first love by a woman well advanced in years, a woman who should have known all this stuff (or so the theory goes) 45 years before. Hats off to director/co-writer Andreas Dresen for giving us this honest, courageous film that can upset and depress you at the same time as it can ultimately uplift you. Ursula Werner provides a shattering, bravura performance as the besieged, 66-year-old Inge, a married woman who is strongly attracted to a man ten years older (Karl, played by Horst Westphal). She engages in an affair with Karl while still proclaiming her love for Werner (Horst Rehberg), her husband of 30 years. Inge cannot understand the startling turn of events, or why they happened, but she discovers she loves Karl.Inge says, again and again: 'I didn't want this!', but the camera forces the viewer to challenge her. This woman has lived a life hidden from herself; she has spent 30 years being protected by Werner, who helped to raise her child. After a sheltered life dotted by drudgery and routine (she goes on aimless train trips to please her train-loving husband; she sings methodically in a church choir), we see Inge coming to the painful realization that she is finally emerging as a real person at the age of 66. She begins to understand, with tortuous internal conflict, what love really is. There is a riveting scene in the film when the sublime Werner (Inge) stands by railroad tracks in cascading rain. With her back to the camera, she screams at the earth (or is it at herself?), then turns and walks towards us: we see then a face of boundless anguish, a face that has realized something for the first time: after all these years, it is, for her, a terrifying and devastating discovery.There are flaws in this film (we know little about Karl or Werner, for example), but I still highly recommend it. This is a first in cinema, an adult film about REAL 'old people,' and we'll probably not see another like it for a long time to come. Finally, seniors in cinema have been given a genuine, authentic voice. It is a tribute to Germany, and perhaps Europe in general, that a film like this could be made. It's a work that would never (repeat, NEVER) be considered in the dumbed-down, juvenile, cartoonish world of Hollywood, which prefers to mass-produce movies that have little to do with the reality and pain of everyday human existence.