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If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

The film may be flawed, but its message is not.

A reviewer referred to this catatonic movie as a "feminist horror story". While I wouldn't disagree with that, I'd prefer to call it a plot-poor yawn-fest melodrama with a cretinously banal story-line. Old people's love-triangle Bumsfest romantic drama? That works too. Or I could simply refer to this pseudo-cinematic drivel as GILF porn. The hideous actress who toys around with men (and very "fittingly" looks like one too) is naked throughout the movie. Yes, it's such a "deep", involving, artistic story, isn't it. Actually, all these different descriptions could be merged into one simple term: rubbish.Pretentious rubbish. Note the absence of music – aside from the inane, superfluous choir scenes which somehow are needed to remind us that she is indeed old, and not 18. You see, the absence of music means the director bows down (to his knees, and then chin-to-ground) to Lars Von Trier's Pretentious Dummies 95 manifesto, which basically instructs its blind (and empty-headed, not to mention talent-free) adherents not to utilize music because somehow a soundtrack makes the story "insincere" (or some such rubbish; I don't pretend to know much about this cretinous, art-fart Eurotrash movement aside that it's absolute horseshit for bird-brained film students and impotent, obese film critics). One of the other tenets of the 95 (bowel) movement is that porn is not only acceptable, but that dangling (or upright) male genitalia represent another highly artistic step toward more sincerity. Yes, I know. We all know: Lars is a degenerate, pompous ass. And European cinema still wallows in its own self-indulging ineptitude laced with sexual obsessions most of which are perversions. No, I don't mean old folk having sex, I mean full frontal nudity of an underage girl, a scene which the lustful film-maker somehow managed to squeeze in, despite that being the only scene in which any minor appears, and despite that girl being wholly irrelevant to the plot. (The old "sneak-a-bush" tactic.) Or was this some tiny New Age feminist commentary about how "progressive" the nympho's daughter is to have her kids running around naked in the garden? European film-makers know their audiences all-too well: give them naked underage kids, incest, or bondage, and your movie-festival rating as an "artist with a unique vision" goes through the roof. The story? An amazingly stupid old nymphomaniac woman (who looks like Gary Numan after years of alcoholic binging) screws her husband – literally and metaphorically – by cheating on him with an even older geezer. Now, it's not as if she develops a romantic, touching, unintentional, spontaneous relationship with this other guy over a period of time. No. Like a hormonally-challenged teeny-bopper she has him humping her within minutes of meeting him for the first time. No, this is no joke. Nor am I joking when I tell you that the woman's adult daughter LAUGHS and then SMILES and then APPROVES of her affair when her mother confesses about it. Her daughter – ever the ungrateful skank but viewed sympathetically through the film-maker's immoral feminazi prism – actually encourages her mother to continue the affair, because, after all, the man she is cheating on is "only" her step-father who "only" sacrificed his best years to bring her up (another man's offspring as his own) so why the hell not, right? She warns her mother to keep it secret though. She does have THAT much common sense at least. So not all female characters in the movie are necessarily utter imbeciles, only partially mentally and morally impaired. However, in the film-maker's eyes, they are not moral degenerates at all.Alas, her daughter's advice is not heeded by the choir-singing floozy who turns out to be beyond daft. To selfishly unburden her sense of guilt, the fat ugly cow tells her hubby about how she's been shagging this other guy. As expected, her hubby is outraged, becomes depressed, and concludes that his wife of 30 years is "a moron". It is at that point that the audience in the theaters rapture into a spontaneous applause: "yes, man, she is soooo dumb!"Oh, but I kid. Of course no audience applauded (nor would I ever watch this trash in a cinema). No, not because most of audience are feminazi zombies, but because most of them were snoring by this point. You see, this movie is so saturated with padding. It's so full of unnecessary Euro art-fart BS that if you'd compress this sex-film-impersonating-a-serious-character-study into its plot-relevant scenes, you'd get something like 10 minutes. So yes, the movie WOULD be a 10-minute GILF porn clip with a touch of generic drama if only there weren't all those fabulous scenes of German landscapes and parks, which are intended to give the typical hipster-hat-wearing coffee-sniffing art-fest film-goer a chance to MUSE over the incredible philosophical ramification of a fat nymphomaniac having sex, over the ridiculously underdeveloped characters, or simply a chance to go for a leak.If only the lazy film-maker had had the common sense to make her husband impotent. At least that could've served as some flimsy but somewhat credible excuse for the affair. But no. Her husband is still sexually active, AND she enjoys the sex with him, whereas it's the new boyfriend who can't always get it up! Sure, in many ways this has all the hallmarks of an Ed Wood classic.Her husband – very very very predictably - ends up committing suicide shortly after being ditched by his perpetually wet wife, and that's it. What's the point? The message, dare I say? Well, in terms of feminist "logic", the message is: "girls, enjoy yourselves, indulge your hedonism, and by all means screw over your loyal partner if your vagina ever gets that nympho need". For the rest of us, the message is more like: "all you fat, ugly, selfish bitches should keep your affairs secret – IF you're going to cheat on your husbands."Want more laughs? Read the comments section.

Ursula Werner deserved her German Oscar for her performance in this film and so do her two male co-stars as well. This is a classic character portrait of film at it's best. It's not for children. It's mature viewing. Despite the subtitles, it's easy to follow the story. She plays a seamstress who takes on extra jobs to earn money. She lives with her husband of 30 years, Werner. She has an adult daughter, Petra, and grandchildren. Suddenly, she finds herself exploring her sexuality and falls in love with an older man. She's 67 years old. The film proves that older people like Inge are still sexually active. It's hard to imagine our grandparents being so sexual but this film helps us to dispel the notion that older people aren't sexually active anymore and have problems in their relationships as well. The film's message is that women may get to be grandmothers but they are still capable of sexuality and the need to be loved and affectionate in their years. Anyway, the film is quiet, understated but I'm not used to German films.

CLOUD 9 is a touching, yet disconcerting look at the romantic longings, and sexual desires of people in the late Autumn of their lives. Inge, a woman in her 60's, who has been married to Werner for over 30 years, has a spontaneous affair with Karl, who is 76. Their sexual encounters are portrayed in graphic detail, and I can't think of a film which has depicted such explicit sexuality between elderly characters. Although Inge feels a certain comfortability with Werner, she is slowly realizing that their life together is nothing more than marking time until death. Inge is awakening to the fact that she just might be entitled to a bit more, and Karl seems to provide the change for which she has been yearning. Andreas Dresen, the director, has provided a plot, however all of the dialog was improvised by the actors while filming. Little background is given, and the film explores the intensity of the sexual encounters, and the ramifications of these interactions. In depth narrative detail is sacrificed for the vividness and drama of the emotional consequences. CLOUD 9 clearly targets a mature audience, and for a small budget film which addresses a rather taboo subject, it is quite heartfelt and poignant.

Sometimes you watch movies that are pretty empty. Well, this is one of them. A woman falls for another man in an affair that seems to be only motivated by sex. After some arguing, she decides to choose her new boyfriend and leave her husband for 30 years. After that, her husband dies, probably of suicide. (That is really not explained). This all takes a very long time. Except for the songs of a choir, there is not really a soundtrack. This makes it more difficult to understand the emotions and also makes some very long scenes very boring. What stands out for me, is that this woman decides against her love for life even though she still loves him, for a life of sex. And that her daughter agrees with her and even encourages her to continue. If that were my mother, I would certainly advise against a thing like that.While some acting was good, others was not very convincing. I especially think the directing lacked coherence. The use of rain and colors did not clearly add to the meaning of the film. Perhaps, the lack of a score did really make this movie really appear empty. This is reinforced at the end, when the "new" couple hold to each other shortly after the tragic event. All this adds up to a very poor movie. Definitely not recommended if you want to have an enjoying evening.