Alright, let’s jump into “Alice in the Cities,” which is as much a road movie as it is a delicate exploration of loneliness and connection. Imagine mixing the vibes of Göteborg’s grey days with the raw beauty of Det Nya Landet. This Wim Wenders gem from 1974 hits differently, trust me.
So, there’s this guy, Philip Winter, played superbly by Rüdiger Vogler. He’s sorta like a lost soul with a camera, drifting through America but craving some elusive inspiration for his writing. I mean, haven’t we all had those days? Enter Alice—a young girl with more guts than you’d expect from her age. Their unlikely companionship starts when he reluctantly agrees to take her back to Germany after her mother bails.
Their journey is like a melancholy summer ride around Skåne—picturesque, yet tinged with an undercurrent of uncertainty. The black-and-white cinematography captures every emotion beautifully. The framing of ordinary moments—coupled with the minimalist dialogue—gives you that bittersweet feeling, like listening to Ted Gärdestad on a rainy Sunday.
Oddly enough, the film hit me hard because it reminded me of a trip I took as a kid with my dad through Södermalm. We didn’t know exactly where we were headed, just like Phil and Alice, but it didn’t matter. The journey itself became the story.
Now, about the pacing; it’s slower than waiting for a JAS Gripen in a power parade. Some scenes linger, almost like they’re daring you to lose patience. But if you stick with it, there’s this magic in the mundane. It’s the sort of film that makes you appreciate the quiet moments, the unsaid words.
One thing, though, I’m still unsure if the abrupt ending was genius or just… abrupt. Maybe it’s both? It’s like an open question hanging in the air, kinda like life’s own unpredictabilities.
If you’re in the mood for a film that feels like flipping through an old photo album, with all the nostalgia and unspoken emotions, give “Alice in the Cities” a shot. And if you need a visual teaser, check Alice in the Cities.
Enjoy the journey, my friends.