One of the best films i have seen

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Close shines in drama with strong language, adult themes.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

A group of woman following an, implied, nuclear holocaust go on a search for men who enable them to continue the human race.The group's leader is the only one to be born pre-war and the only with an idea of civilised values, and also seemingly the only one with common sense. e.g. at one point the other women break open a drum of flammable fluid using an axe.(Apparently exposure to high levels of radiation in the womb can lead to mental retardation. Just a thought.) The women in group are not Hollywood glamour types, but they are all healthy and attractive. Which is perhaps a little odd given that their diet seems to consist of fifty year old tinned food and whatever else they can scavenge. Though this is perhaps just as well because, apart from the occasional quirk, only physical appearance differentiated the group as individual characters.With the exception of the older woman leading them, the group seems to have descended to the level of barbarians. No thought beyond self-gratification, and no this not a reference to Sapphic shenanigans, the main enjoyment for the woman seems to be cruelty to animals, which there is quiet a bit of in the film, coupled with an attitude of want it, take it. (Note: If you are an old gentleman and a bunch of wild and armed amazons want your prized gramophone, probably best to just hand it over.) And no thought of the long-term future; when deprived of leadership, aimless wandering seems to be their only goal.Perhaps this is the point of the film; when deprived the benefits of education - though at least some of the women are literate - and a society to impart values, barbarism will become the norm.Certainly the point of the film wasn't to entertain people. Events such as searching an apparently deserted town or crossing a wild river, seem flat and devoid of drama. Probably because I found it difficult to really care about any of the characters.The film is about a hour-and-twenty minutes long; it feels longer.

This one heralds later works, Cormac Mccarthy's The Road and Michael Haneke's Time of the Wolf among them. It's a journey through a bleak barren landscape where characters are lost in it rather than found, set after an unspecified apocalypse that leaves the world an empty desolate place, not the end of the world like in an Emmerich film where destruction is an exciting spectacle to witness as but rather "an" end to the world, a hazy blur of abandonment filled with residues of mystery and nameless violence.The film is a blank canvas. Distraught characters are violent and aimless. The land works by some other order. Where people like Herzog, Malick or Tarkovksy found things of spiritual importance to say on this other order, Schmidt's film is empty and distanced. When the film needs to be stark, animals are murdered for the camera, a dog is shot or a cow is slaughtered. The basic means of expression in The Road are poetic, here they are allegoric. As the characters of McCarthy's novel stagger starved and hopeless through the scorched macadam we can taste bitter ash in our mouths. Here they simply walk through shrubs. We don't fear for their souls, so to speak.And then it gets interesting because the rugged band of amazons stumbles upon the ruins of an old hotel in the middle of the forest and there's an old man living there alone who sees in the young girls (all born after the apocalypse so they don't even have a word for "man" or "grammophone") a new future, new mothers for a new civilization of men. The first among the women, the leader, an old woman who was young before the apocalypse and can remember a time when "the cans didn't rust and the land didn't despise us", she doesn't allow herself to be dragged along on new hope, she is resigned to the end of times. The end is bleak and poignant, a hopeful future is not suggested, and the tiny pocket that preserves the civilization of the old world (where gramophones play music, where cows still make milk) is left behind to rot in the forest. What The End of August at the Hotel Ozone says about the communist regime of the time is at once vague enough to fool censors but clear in emotional duress.This was a very interesting precursor to dystopian films that deal with the end of the world in sombre quiet terms. If it's not terribly successful it's because it's faintly groping in the dark where no one else had gone before, because it uses vague characters to sketch a very clear picture in allegory.

This movie is a stunner, to be sure, and easily decades ahead of its time; the atmosphere of degradation and decay, and just plain desolation, is far beyond anything accomplished in any other film, and I include the immortal MAD MAX 2.However, I have to, HAVE TO, ask the question of whether this film works, as do most Central/Eastern European films, on more than one level, and whether there is inner commentary contained in the film.Watching it, I was struck by the subtext of how the old world has ended, and a new world begun, with new and young people with no knowledge of what went before; this is a basic tenet of radical Communism. The old people, clutching to the remnants of their soft and settled existence, dreaming of a life gone and never to exist again... as the Old One dies, so does the last vestige of any form of culture, or art, of even civilized behavior, and all that is left is a gramophone record of ROLL OUT THE BARREL being carried on horseback by heavily armed and murderous beasts; who themselves lack the capacity to reproduce.I watched this film as a veiled indictment of the Eastern Bloc Communist belief that required history to be eradicated, for a new world to emerge after that holocaust, only to find the act of destruction (with an intent to rebuild) resulted in nothing less than the death of civilization and the creation of savages with no higher conscience. I admit to an influence, though, in that I was in the Balkans during the 'wars' of the 1990s; and one of the most striking and heartbreaking things was many people's belief that Socialism had created a New Man, with no history; and how unfathomably shocked they were to have these fine creations of humanity revealed as violent animals bent on nothing more than mindless destruction.

It is 25 or so years after a nuclear war, and a few hardy young women, and an older leader, are wandering (in Czechoslovakia?) in search of canned food from before the war that can be safely eaten. No men apparently survive, being less resistant to radiation. They come across a mountain resort hotel, the Hotel Ozone, where an old man lives alone with a wind-up record player and old books and magazines. The young women, raised as barbarians, act the part. The person who introduced me to this chilling movie pointed out that science fiction movies were supposed to have monsters, and suggested looking for the monsters in this one. The B&W cinematography is great, especially in scenes of the women practicing their horseback riding skills and exploring a ruined town. You'll never be able to hear the tune "Roll Out the Barrel" the same way again.