The Ballad From Wednesday to Thursday Die Ballade von Mittwoch auf Donnerstag Focus © Montell Taraschewski_Monte Kalk Film
Tickets
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About
North American Premiere
As evening approaches, residents of Cologne gather in bars, cafes, and clubs across the German city. A policewoman goes out with a man starting a clerkship; a trio of women vent about their job woes; a middle-aged woman meets up with her longtime friends for a game of cards. As the night wears on, no topic of conversation is out of bounds, with immigration, war in the Middle East, gender, feminism, and racial profiling all thrown into the mix. As the alcohol keeps flowing, conversations get louder and opinions looser, as if testing the very fabric of this tenuous social world.
A raucous, ribald ensemble comedy, The Ballad From Wednesday to Thursday is a riotously funny but keenly observed look at a cross-section of German society. Recalling the booze-addled energy and quasi-documentary atmosphere of Bloody Nose, Empty Pockets (VIFF 2020), this is a film sees talk and conversation as messy and unpredictable, but also as the lifeblood of human connection and democracy.
Supported by
As evening approaches, residents of Cologne gather in bars, cafes, and clubs across the German city. A policewoman goes out with a man starting a clerkship; a trio of women vent about their job woes; a middle-aged woman meets up with her longtime friends for a game of cards. As the night wears on, no topic of conversation is out of bounds, with immigration, war in the Middle East, gender, feminism, and racial profiling all thrown into the mix. As the alcohol keeps flowing, conversations get louder and opinions looser, as if testing the very fabric of this tenuous social world.
A raucous, ribald ensemble comedy, The Ballad From Wednesday to Thursday is a riotously funny but keenly observed look at a cross-section of German society. Recalling the booze-addled energy and quasi-documentary atmosphere of Bloody Nose, Empty Pockets (VIFF 2020), this is a film sees talk and conversation as messy and unpredictable, but also as the lifeblood of human connection and democracy.
Supported by
