The construction of this film perfectly demonstrated the integration of form and content with its division into chapters reflecting the stations of the cross.The use of single shot sequences attempted to complete this structure with a fly on the wall technique reflecting the realist script/acting style. A recording of the effects on a young girl of religious extremism. Where I found a shortfall in the film was in the use of such extreme belief in modern Europe.No doubt there are many such believers,whether Christian,Muslim,Jewish or any other religion. But it is in the ordinary, everyday influence of the church that ,it seems to me, most influence is seen and bypassed in drama because it is not so viable for dramatic usage in film/television. For example, the values taught in schools and reinforced in mainstream media as norms for being a "good" or "successful" member of society can have severe effects on young people,and throughout life. For mainstream writers/media the ordinary is a no go area.And yet it is here that millions and millions of people live in a world inhabited by, and constructed out of , religious belief. My criticism of this film,then, is that it suffered the fate of the story teller..be it soap opera on the Telly or film for the pictures....."make it dramatic...go for the extreme...the real world is too mundane".

"Stations of the Cross" (2014 release from Germany; 110 min.; original title "Kreuzweg") brings the story of a strongly religious Catholic girl named Maria. As the movie opens, we see Maria and five other young teenagers getting a last lesson from the local priest, in preparation for their Confirmation, now just a week away. In the next scene, we observe Maria and her family taking a stroll in a park, and it becomes clear very quickly that there are serious tensions between Maria and her mom, who seems to rule the family with an iron fist. What will become of Maria? How will the tension with her mom play out? To tell you more would spoil your viewing experience, you'll just have to see for yourself….Couple of comments: first, the movie is highly stylish, and for an unusual reason: the movie is brought in 14 chapters, paralleling the 14 stations of the cross that Jesus encounters in his final days and hours. Each of these 14 scenes is brought in a single take, and all but two chapters (late in the film) are filmed with a fixed camera angle. Sitting through the first chapter (with the 6 kids getting Confirmation class), I had no idea whether this movie was going to appeal to me. Literally nothing happens. Then the next chapter comes, and the one after that, and slowly you start to realize that you are watching a harrowing family drama set in a highly conservative Catholic family where any sign of modernism is loathed. The Second Vatican Council reforms are flat-out rebuked, and instead 'old style' Cathlolicism is sought at every step in life. Meanwhile young Maria is trying to find her one path, all the while trying to get her stern mom's love and approval. As it happens, I grew up in an all-out Catholic environment in Belgium in the 60s and 70s. A number of scenes in the movie brought back memories I hadn't thought of in YEARS (such as when I had my Confirmation in 1972). The film features a towering and heartbreaking performance from Lea van Acken as the young Maria, leaving you to shake your head in disbelief, and let's not forget Franziska Weisz as Maria's mom, playing about as unlikeable a character as I've seen in a long time. Kudos to director and co-writer Dietrich Brüggemann for bringing us this highly original, if tense, family drama. I wish we'd get more movies of this caliber more often."Stations of the Cross" was released in the US by the good folks at Film Movement, which over the years has released a tons of great foreign and indie movies that otherwise would never have seen the light of day in the US. As usual, the DVD comes with a bonus shortie, and this time it's an 11 min. film from Germany called "One Shot" which director Dietrich Brüggemann made to great acclaim before he had a chance to make "Stations of the Cross". Definitely worthwhile checking out as well. Meanwhile, "Stations of the Cross" is HIGHLY RECOMMENDED!

I have to admit that the mere mention of words like Catholicism and Stations of the Cross, particularly in the same sentence, makes me want to turn heel and run in the opposite direction. As a catholic, I spent my early childhood at church every Sunday morning, praying up and down on my knees (hurting) on old wooden kneeling benches, hearing service in English (and Latin) all whilst staring at 14 paintings of…you guessed it… the Stations of the Cross, positioned equidistant from each other along both sides of the church. I was taught (*coughed* 'indoctrinated') by old school nuns in habits and remember making up the strangest sins to confess at confession (I failed to share Milo with my brother…a lot). And yet, one can't help but be drawn in by the form, technique and understated beauty of Dietrich Brüggemann's (MOVE, NEUN SZENEN) moving painting STATIONS OF THE CROSS. Powerfully constructed into 14 fixed angled long shots, 12 of which are static (meaning the camera stays in a single position), each shot is its own chef d'oeuvre. The setting within each frame along The Way from 'Jesus is Condemned to Death' to 'Jesus us Laid in the Tomb' exude pious restraint, allowing the actions and catechistical dialogue to convey Maria's (Lea van Acken) youthful conflictions regarding her love for God, her family's fundamentalist beliefs and its place in modern society.In the week leading up to her confirmation in the puritanical 'Society of St Paul', protagonist Maria finds herself increasingly anxious and examining as she tries to find a balance between living up to the mature expectations of her extremist faith, pressures emanating from home, and the ridicule she endures from classmates over her religion. She decides to follow the path Jesus took and give up her life for her three year old brother Johannes who has never spoken a word. As she traverses her Way, she 'Falls for the First Time' when she meets fellow school student Christian (Moritz Knapp) who invites her to attend his choir practice at a different congregation. Flattered by his attentions, Maria decides to withhold certain details from her controlling and virtuous mother (Franziska Weisz) who would be aghast over the singing of soul and gospel music that she believes contains 'Devil rhythms'. Becoming increasingly burdened by her wrongdoing, Maria confesses her transgression to her priest who relieves her of her venial sins, due to her innocent mind and unknowledgeable heart. Instilled with the dogma sin – confess - repent, Maria returns to her enlightened path, eschewing Christian's attempts at friendship and the use of 'Devil Rhythms' in her gym class (this particular scene is an entertaining relief in an otherwise austere and reflective film). I won't enlighten you on the rest of her journey in the hope that you engage yourself in this complex yet rewarding story. The film takes a realistic position in its observations of fundamentalist religion and the devastating affects it could have on innocent minds if left unguarded. Van Acken is compelling as Maria whilst Weisz is particularly thrilling in 'Jesus' Clothes are Taken Away' when Maria's doctor challenges her maternal competencies. STATIONS OF THE CROSS is a hidden gem worthy of much greater traction than what it will undoubtedly receive. An art-house film at its finest. You can catch more at my Twitter handle theSachaHall and The Hollywood News.

I saw this film at the Berlinale 2014, as part of the official Competition. When reading the synopsis on the festival website, I was afraid at first that the chosen format of 14 scenes with a still camera, numbered and named as per the 14 Stations of the Cross, would effectively work out as a sort of harness. We've seen that many times before, when the format takes over and the contents suffers. Very soon, however, I was put at ease with the opening scene "1. Jesus condemned to death". I could not do anything further than eagerly await the rest of this wonderful film.This initial 10-minute scene foreshadows everything that is to follow. I can say that now in hindsight, since the full extent of whereto this drama is heading, will be gradually handed over in bits and pieces in later parts. The central character is 14 years old Maria, but her hard-lined mother is also a key figure in the drama as it enfolds in 14 distinct scenes. The role of the father figure is next to negligible (even the french au-pair had more lines than he had).Aforementioned first scene shows a priest with a group of 7 boys and girls, sitting around a table, talking about the essentials of what their further life will entail being a true Catholic. They are together in preparation for the sacrament of Confirmation, from which moment on they are expected to stand up for their faith, and to defend it against everything that deviates from the Ten Commandments and the Seven Sacraments, and to further uphold everything else advocated by the Catholic church before Vaticanum II (1962 to 1965). A very clear explanation is given about day-to-day practices, essentially resisting all temptations that are laid on your path by Satan. Another topic is bringing small sacrifices, like not eating a cookie, even when tempted while it seems so harmless. Other forbidden fruits are pop, jazz, soul and other such "modern" (not my words) music styles, allegedly all based on rhythms invented by Satan.Main character Maria belongs to a Catholic family of hardliners, members of the Congregation of St Pius XII, practicing the very traditionalistic teachings of this congregation. Aforementioned opening scene makes perfectly clear that Maria is very prepared to take her faith seriously, including the small sacrifices that may bring her nearer to a good place in heaven. In the second chapter, where the family is walking through a park, she considers her coat and sweater as a luxury and takes them off in spite of the cold weather. She also refuses to smile when family pictures are taken. More such things happen, but she does not explain herself. She succeeds in annoying their mother, and thus unwillingly destroys the happy family atmosphere. We see this mother later on as having a firm hand in the religious upbringing of the children, while the father lets it all pass without interfering.Apparently a side role but his importance becomes evident later on, is Maria's little brother who has not spoken a word since his birth. We get some hints that illnesses and handicaps can be "given" to us as a retribution for our sins, or to challenge the strength of our faith. Gradually Maria gets obsessed with the notion that she can trade her life for the benefit of her brother. She ignores everyone saying such a calling lies in the hand of God, and no one can decide that for himself.Each and every scene that follows further portrays the mutual relations within the family, as well as how Maria interacts with others like school mates. The gym class scene may serve as a perfect example. Maria retracts while there is music played she deems belonging to one of the "Satan invented" categories. That is what she tells to the teacher to explain why she does not participate. One of her class mates makes a joke out of it when he subsequently refuses to run in circles while "forbidden by my religion". Others are more constructive by bringing up the notion of tolerance against other beliefs, indeed a good point to make in such circumstances. Exactly like the opening scene, this gym class scene serves as solid proof that a still camera need not be an obstacle for a vivid scene.Not all chapters, however, go neatly along with their respective titles as literally derived from the 14 Stations of the Cross. A few times we feel an inherent shortcoming of the chosen format, being a very good find as a basic idea but the concept shows a few spurious cracks. Nevertheless, it did not hinder me too much, not feeling as a harness when considering the final product overall.Strong performances by Maria as well as her hard-lined mother make this film into an indictment against any too fundamentalistic belief, whether it regards Islam, a protestant denomination, or Catholicism. Tolerance is the key word here, as rightly brought up by one of Maria's class mates. It cannot be that a strict interpretation of religious laws, or the rules imposed by whatever church, are extended to others being no members of that faith. Believers must allow room for other opinions. Strict adherence laid upon outsiders is always a bad thing, regardless of the good intentions of these religious laws. It can lead to extreme actions, demonstrated by Maria in later chapters of this wonderful film. If anything, it offers food for thought (but no solution) how to deal with people who go to any length to impose their beliefs on others. They probably do that with the best of intentions, but the side effects are worrisome. Some people may find that this film has turned religion into a caricature, uncalled for, but I don't think so, especially when reading the newspapers where we read about religious extremism all over the world.