Hunger

Man fragt sich die ganze Zeit, was das Ziel eines Films ist, der nur mit einem kubrickmäßig nüchternen Auge den bodenlosen Umgang mit IRA-Häftlingen im englischen Gefängnis beobachtet. Auch in der zweiten Hälfte, in welcher das Drehbuch die vorigen Figuren vergisst und sich auf Fassbenders freiwilligen Märtyrer konzentriert, bleibt man nur in der Rolle der Beobachter von Sachen, die das Blut in den Adern erstarren lassen. Hier befindet sich der Film aber schon auf einem anderen Niveau – dank dem unglaublichen Talent des Schauspielers. Einen Sinn verleiht dem Film erst die Tatsache, dass das Leiden, welches die Figure(en) durchgemacht hat (haben), nicht überflüssig war. Ein starker Schuss in die Köpfe der Zuschauer*innen. (27.02.2010)

Absolutely "physical" and intensely unpleasant viewing. It’s formally austere and yet very expressive. It’s minimalistic in terms of acting and yet fully functional. It’s poor in story, but rich in ideas. A heavy-duty shot to the gut. (14.03.2010)

Eine schmerzliche körperliche Erfahrung. Hartnäckig, intensiv, allmählich und verbrennend. McQueen riskiert den ernsthaften Vorwurf einer politischen Kontroverse, jedoch es geht nicht um die Verteidigung einer Ideologie, sondern eher um das oft bis gar barockartig versteifte und visuell brillante Bild einer Demütigung, Entschlossenheit sowie eines Leidens. Die Struktur ähnelt einem dreiflügeligen Altar voller Blut, Entsagung und Fäkalien, einem Altar, der nicht anklagt, nicht agitiert und auch nicht wertet ... lediglich ein deprimierendes Helldunkel ausstrahlt. Steve McQueen hat zweifelsohne ein große Talent - dank seiner künstlerischen Fähigkeiten, sparsamen Sprache und seinem nüchternen Austausch. (04.01.2010)

I understand where McQueen is heading, and I must admire him for not giving in to anti-populist form even for a moment, while avoiding the feeling of self-indulgently slow pace. The border between raw reality and explicit atrocities and violence is sometimes quite thin, and Hunger has crossed it multiple times for my taste. Of course, Fassbender can weigh twenty kilos even with a bed and still captivate with any glance. But more often than not, I sneered disgustedly instead of experiencing it. (15.08.2012)

Hunger is a film that feels absolutely convincing, evokes exactly the emotions it wants to evoke, and is economical in its expression. It is told through imagery and the only crucial dialogue between the hunger striker and the prison chaplain is a delight in how many layers, connotations, probing, and information it contains. This drama can provide a complete picture of the problem in a reasonable duration of 95 minutes and literally engulf the viewer. The theme of torment, and frustration of prisoners and guards who are limited by political guidelines from people who have no real idea about the actual situation and no intention of dealing with it far away in parliament. It is a battle of willpower, ideology, ideas, sacrifice, intimidation, and strength. A controversial film that is not for everyone. Overall impression: 95%. (19.05.2011)

Raw, no frills. Connecting the story from the first half to Fassbender’s Bobby is stretching things a little, but that’s what gives this picture the right tone. His slow fading away and suffering is presented simply as it was. And that makes it even more terrifying. (28.10.2011)

A heavy, existentially tuned and extremely personal drama that attacks the limits of the viewer's emotionality in a completely indiscriminate, mentally and physically exhausting way. Unfortunately, this applies only to the second half, when watching Fassbender suffer voluntarily makes us more nauseous than Jackson's Braindead – if the whole film was like this, it would immediately reach top positions in the popularity charts here and perhaps even the percentage rating. Unfortunately, the opening part is boring and confusing rather than shocking and, despite all efforts at authorial innovation, quite uninteresting, too, so my rating is just a logical outcome of two completely different halves. But nothing against McQueen, his patient and strongly poetic approach would prove very useful and even massively successful in subsequent films. And here (in the first half) is the germ of everything. 70% (13.04.2014)

Absolutely classic festival film. Screenwriting that achieves the geometry of Plato's dialogues, but disgustingly wordy in places. However, the subject matter appealed to me and it's skillfully filmed, so for once I'm satisfied. (12.11.2009)