DER LETZTE TAKT

In the organizer's words:

In Reykjavik, a small Icelandic chamber orchestra is struggling to survive. State funding is on the brink of collapse - until an unexpected opportunity arises: A world-famous Icelandic cellist returns home after decades. His mere presence could bring much-needed attention to the orchestra and secure its future.But the glimmer of hope quickly turns into a nightmare. The celebrated, charismatic virtuoso turns out to be an unbearable tyrant who knows no boundaries. The situation comes to a dramatic head at the big concert evening. But the ensemble is determined not to jeopardize the performance - whatever the cost. And so the orchestra takes to the stage for a performance that Reykjavik will never forget. (Mindjazz)

Hilmir Snær Guðnason in the role of the cellist embodies a man with no sense of inhibitions, consideration or responsibility: a penetratingly smiling amorality. He becomes the object of a higher justice. This takes place in the second part of the film in a process characterized by deep black humour. In the most important concert of its existence to date, the chamber orchestra has to rely on Klemens in an extremely unusual state; it is not possible to go into details at this point. The film takes giant steps towards Absurdistan, setting slapstick-like accents with almost childlike pleasure: classical music meets colportage. (epdFilm)

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