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Jun 8, 2017 · Self-Criticism of a Bourgeois Dog: Directed by Julian Radlmaier. With Julian Radlmaier, Deragh Campbell, Beniamin Forthi, Kyung-Taek Lie. A bourgeois dog and former filmmaker confesses how he became four-legged by failing in love, apple-picking and revolution. A political comedy with magic twists.
- (499)
- Comedy
- Julian Radlmaier
- 2017-06-08
May 10, 2022 · Self-Criticism of a Bourgeois Dog (Julian Radlmaier, 2017) Available to rent on Vimeo. The world has gotten crueler since the 2017 release of Julian Radlmaier’s breezy, comely political farce. By now, just as flat-affect hipster lip service to revolutionary politics gets tedious fast, so does satire thereof.
All ideology may be pretense, Self-Criticism of a Bourgeois Dog suggests, but at least we’re in it together. Portrayed by the writer-director himself—and by a dog, in one of the film’s absurdist turns—Radlmaier’s protagonist is a version of himself: a genteel young German director by the name of Julian, who fritters away his ample ...
A bourgeois dog and former filmmaker confesses how he became four-legged by failing in love, apple-picking and revolution. A political comedy with magic twists.
Jan 19, 2017 · SELF CRITICISM OF A BOURGEOIS DOG. by Julian Radlmaier. synopsis. A bourgeois dog confesses how he was transformed from being a filmmaker to being four-legged: Unable to find financing for his film, JULIAN is forced to accept a job as a seasonal farmhand.
- Germany
- Selbstkritik eines buergerlichen Hundes
- Self Criticism of a Bourgeois Dog
Feb 29, 2024 · Movies / Self-Criticism of a Bourgeois Dog. (2017) 51 /100 0 Votes. 6.7 /10. Streaming AvailabilityOn 1 Service. Comedy 2017 1h 39m. A bourgeois dog and former filmmaker confesses how he became four-legged by failing in love, apple-picking and revolution. A political comedy with magic twists.
Jan 12, 2018 · Communism, filmmaking, and the male gaze—Julian Radlmaier’s fantastical debut entirely lives up to (and delivers on) its astounding title. With welcome flourishes of humor, unreality and an incisive critique of political filmmaking, it resembles what a young Buñuel would have made of today’s Europe.
