“When I went to see Der goldene Handschuh during the Berlin film festival, the first performances had already been. The trade magazines and the German newspapers were united: Fatih Akin had made a disgusting film, one of which you can wonder if it should have been made at all But other sounds came from the corner of fellow festivals: a must see, and the trailer was also promising.
Akin is not hesitant and the first scene immediately hits. A neat lady next to me quickly hurried out of the room, undoubtedly looking for a decent arthouse film. Meanwhile, Akin continued to build on the unique universe of his film. A distant planet or an exotic island can hardly be more fantastic than what the maker presents us here: a world of decay, alcohol, cigarettes and German smartlaps, soaked in yellow-brown colors, with characters for whom the only prospect is the bottom of their glass Not even the most special thing is that Akin has removed all glamor from the serial killer, which happened in Henry, Portrait of a Serial Killer, and Akin goes further and shows us an entire underclass whose protagonist is the violent, murderous and racist losers of society and of the time in which they have to live.
A distant planet or an exotic island can hardly be more fantastic than what the maker is presenting us here: a world of decline, alcohol, cigarettes and German smartlaps, soaked in yellowish-brown colors, with characters for whom the only prospect is the bottom of their glass is.
Not only the violence is penetrating in Der goldene Handschuh, although those scenes are extreme and not easy to watch. The bar from the title and the filthy, dilapidated apartment of Fritz Honka are almost physically palpable. You smell the overflowing ashtrays and the smell of stale beer penetrates into your nostrils. After the film I walked into the hallway, between the glass and steel of a modern Berlin cinema. Everything clean, shiny and shiny. I really wanted to take a shower. ”
Artistic Director Imagine Film Festival