Best movie of this year hands down!

The acting is good, and the firecracker script has some excellent ideas.

One of the most extraordinary films you will see this year. Take that as you want.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

This is a good movie.Location and players were chosen appropriately for he subject.Paradise liebe is actually sex paradise for he middle age and fat women.It is a poor village in Kenya near to the beach and hotel.African black boys not only given a sex service to the ladies against money but also harassing them to sell some souvenirs.As for the birthday party scene in the movie;This is an uncompleted scene in my eyes.Teresa's friends make her a birthday surprise and bring her a black boy for a strip Show.All women play the boy's penis after he completely striped naked.Under this circumstances they all should be aroused sexually.Since young boy had enough energy to satisfy all four women,they should not let him go and continue until they are reaching climax.So this scene was not realistic.I would give 8 points but cut 1 for this uncompleted scene and give 7 of 10.

Prostitution, they say, is the world's oldest profession, and can be justified as a mutually beneficial transaction on the basic principles of market economics - if, and it's a big if, the buyer knows what they are getting and the seller is in a position to make a reasonable choice. But often sellers are distressed, making a choice but under terrible constraints; and perhaps some buyers too are looking for something that cannot be bought. Udo Siedel's film 'Love', the first in a trilogy, is about a middle aged Austrian woman who travels to Keyna in search of a sexual adventure to rebuild her sense of self: the result is just sad. I don't know how realistic the scenes depicted in the movie are; but as drama, and not documentary, it's a strange film, depressing and without a conventional narrative arc: there is so clearly no happy ending here for anyone, right from the start, and the protagonists' unappealing nature (on both sides) is offset by the obvious absence of any obvious better choices in their lives. The film is cleverly shaped, and well acted; but it's ultimately unclear what the point is supposed to be, beyond what we might have guessed from the outset.

This flick is about over the hill, fat, white women from Europe that travel to Africa for romance with young black men. It was very well acted and filmed on location in Kenya. The Austrian made film was a mix of German and English but with enough subtitles to make it quite watchable. It seemed realistic - real people with different agendas all trying to get what they want and without the usual political correctness seen in so many American films. The leading character seemed very believable - typical overconfident middle aged German on holiday, speaking English with German grammar. This film not for everyone - the storyline is not mainstream and hard to relate to if you do not understand the emotional turmoil of aging. It was unusual in that the frequent nudity was of the older and fatter female tourists - it certainly added to the story - but quite unusual for a film.

Two days after watching Michael Haneke's staggering Amour, I checked in with Austria's other tyrannous filmmaker Ulrich Seidl and his latest movie Paradise: Love (or, Paradies Liebe, in Austrian-German). Nominated for the Palme D'or at this year's Cannes Film Festival (where it actually lost out to Amour), it's the first part of a trilogy looking at the despicable sides of human nature (the following two parts will be screened at festivals in 2013).Just like his other previous works in documentary (Jesus, You Know) and fiction (Dog Days), Love is an infuriating film; whereby we have no idea where the story is going, and seemingly Seidl doesn't have a clue either. Shot in his trademark static mid shots, with copious amounts of skin on show, it's paradoxically beautiful and grotesque. Like a Lucian Freud painting with just as much of his grandfather's' psychoanalytical subtext, to boot.Margarete Tiesel plays Teresa, a middle aged single parent living in drab suburban Vienna. The first scene sees her smiling from a distance as she watches a class of disabled children fumble-play on a bumper car track. It's a harrowing, typically nasty opening, and really sets the film off in mean spirited territory, with Seidl doing his token unflinching exploitation gimmick.From here, Teresa decides to leave her daughter behind at fat camp and flee to Kenya for a paradisiac holiday. Meeting up with her Austrian expat friend (Inge Maux), the pair talk in typically colonialist terms about African culture and black men's genitalia. Later, on her own, she's constantly harangued by the pushy salesmen on the beachfront, trying to sell her homemade necklaces and pearls at tourist prices. Although she's reluctant to purchase their crap, she willingly buys into the perilous sex tourism trade, first as a customer, and later as one of it's scammed victims. Bleak in tone, yet idyllically colourful in palette, the proceeding 90 minutes follows a series of degradations Teresa must go through in her troubled pursuit for paradise.Similarly to his other work, flesh and body politics play a central role to the narrative, character dynamics and control of the movie. Wandering around in flip flops and skimpy bathing suits, Teresa's slightly rotund exterior is used to exaggerate the character's wealth, decadence and presumed dominance over the comparatively slight, underfed and suffering Kenyans. It's a sentiment made painfully clear in one scene where Teresa partakes in an orgy of sorts where three other overweight German/Austrian women force a lean black Kenyan man to perform for their pleasure, and much to his embarrassment.Whilst this may be the most palatable of Seidl's fiction films, it's certainly not an easy watch. At an excessive two hours, he wallows for too long in the audiences' discomfort without ever given us a worthwhile pay-off. Whilst the landscape is filmed beautifully by regular cinematographer Wolfgang Thaler, this bastardised version of Shirley Valentine is a pretty loveless film experience.More reviews at www.366movies.com