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Until the End of the World

Until the End of the World (1991)

December. 25,1991
|
6.8
|
R
| Adventure Drama Science Fiction

In 1999, a woman's life is forever changed after she survives a car crash with two bank robbers, who enlist her help to take the money to a drop in Paris. On the way, she runs into another fugitive from the law — an American doctor on the run from the CIA. They want to confiscate his father's invention – a device which allows anyone to record their dreams and visions.

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Reviews

NekoHomey
1991/12/25

Purely Joyful Movie!

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Steineded
1991/12/26

How sad is this?

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Pacionsbo
1991/12/27

Absolutely Fantastic

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Josephina
1991/12/28

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

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mckinje
1991/12/29

I've said it before to anyone who will listen and I will keep on saying it: Wenders has not put out decent film since "Wings of Desire"...everything after has been pure, disinteresting garbage, While everything before "Wings of Desire" are masterpieces. I think the problem here is Wenders should stop making American films, (this is where he has gone wrong) and instead go back to making European films that have subtle references to America(this is where he's gone right). I think that's the formula that worked so well for him. But his films aren't Eurotrash...For example, The American Friend, Alice in the Cities, Kings of the Road, I wouldn't consider "European", per-se. But story lines and characters that were universal and relatable on a human scale.

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Voyou Nobodysbusiness
1991/12/30

I went to see that film with a Wenders' die hard fan. When we left, it was quite easy for her to recognise... That was utter rubbish.Paradoxically, she was bored all along while I was not, as I was busy laughing at loud at the innumerable ridiculous moments. The thing is, because Mr Wenders thinks he is smart, or deep, or whatever nonsense, he thinks he can make an SF oeuvre without a look at any earlier material in the genre. Of course he failed. His vision of the future is laughable in every aspect and detail.Into this conceptual and visual disaster, put a 10 minutes plot that drags on for hours. No amount of acting ability can save that recipe. Even the great Jeanne Moreau was wasted in this.The only redeeming moments, for me, came from the short parts of E. Mitchell and Chick Ortega, who for some reason seemed to really enjoy being there, and from a few beautifully filmed scenes here and there. Their worth is only by comparison to the general ineptitude, though, and in no way would justify watching this perfect specimen of turkey.

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RichardBruceClay
1991/12/31

This is my favourite film but it will not be to everyone's taste. The mix of whimsy and melancholy will puzzle some, who may ask how seriously they are meant to take it? Its length and occasional problems with continuity will put others off. Added to this, what is intended to be the central romantic relationship never quite convinces. But the film as a whole is redeemed by its sheer ambition and, most importantly, the humanity and the generosity of its vision.It's 1999 - that's seven years into the future - and the world is threatened by an orbiting satellite that carries a powerful nuclear device. Meanwhile, Henry Farber has stolen a camera of his own invention from the American government, not trusting the uses to which they might put it. He sends his son, Sam, around the world, collecting images with this device. These images are to be electronically projected into the brain of Henry's blind wife, Edith. On his travels, Sam picks up a stalker, Claire Tourneur, who is on the rebound from a broken relationship with the writer, Gene FitzPatrick. Sam collects images for his mother. Claire chases Sam. Gene chases Claire. The investigator, Philip Winter, who appeared in Wenders' previous film, 'Alice in the Cities,' chases all of them. Eventually, everyone ends up at Henry's lab in the Australian outback, the satellite having exploded and, with all communication cut off, no-one being sure whether the world is still alive. Here, the precious images are projected into Edith's head and, in the single most moving scene in any film (IMHO), she sees a picture of her San Francisco dwelling daughter Elsa, for the first time, but with no idea whether Elsa herself is still alive.And there's more to it than that. Much more.As Sam, William Hurt delivers a convincing and sympathetic performance throughout. Sam Neill is likable as Gene. Rudiger Vogler as Winter is stratospherically cool. Max von Sydow, as Henry, is intensely flawed yet utterly sympathetic and, appearing on screen only about half way through, comes close to making the second half of the movie his own. Jeanne Moreau as Edith is, at some points, heartbreakingly moving. Special mention must go to Solveig Dommartin, who played Claire and who conceived some of the story. It was clearly a labour of love for her - for example, finding that they couldn't film in China, she snuck in with a video camera and taped a few lo-fi sequences single-handed. The film's lack of immediate success must have upset her deeply, and her premature death has robbed her of the chance to witness the recognition that this lovely, warm-hearted story is, little by little, beginning to get, now that the four-hour version is available on DVD. Not to everyone's taste then, but those of us who like it, love it.

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sam samsa00
1992/01/01

after great movies like Wings of Desire and Goalkeeper's Anxiety at the Penalty Kick, for instance, Wenders decided to TRASH his whole reputation with a god-awful, cornball, cheesy, Sprockets, ridiculous (f)artsy nonsense.The dramatic premise of a satellite threatening the world is upended by a ridiculously implausible and synthetic scenario. Nothing in this movie feels real or possible, and the Euro-trash clichés, effete noir ideas, and absurd storyline makes it a risible piece of bad art.It feels like a very long bad 1980s music video for Madonna or Dick Tracy movie, with Euro-Sprockets coming at you from every direction.Only the music is good.

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