Palermo Shooting (2008) Poster

Palermo Shooting (2008)

  • Rate: 5.9/10 total 1,318 votes 
  • Genre: Drama
  • Release Date: 20 November 2008 (Germany)
  • Runtime: France:124 min (Cannes Film Festival) | 108 min (re-cut version)
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Palermo Shooting (2008)


Palermo Shooting 2008tt1008017.jpg poster

  • IMDb page: Palermo Shooting (2008)
  • Rate: 5.9/10 total 1,318 votes 
  • Genre: Drama
  • Release Date: 20 November 2008 (Germany)
  • Runtime: France:124 min (Cannes Film Festival) | 108 min (re-cut version)
  • Filming Location: Düsseldorf, North Rhine – Westphalia, Germany
  • Director: Wim Wenders
  • Stars: Campino, Giovanna Mezzogiorno and Dennis Hopper
  • Original Music By: Irmin Schmidt   
  • Soundtrack: Good Friday
  • Sound Mix: Dolby Digital
  • Plot Keyword: Place Name In Title | City Name In Title | Fast Motion Sequence | Photographer | Death

Writing Credits By:

  • Wim Wenders  writer and
  • Norman Ohler 
  • Bernd Lange (collaboration)

Known Trivia

  • The film marks the first time that Director Wenders shot a movie in his hometown, Düsseldorf.

Goofs: Anachronisms: In the scene, when Finn talks with lady photographer, they discuss the age of their cameras. He tells that his Plaubel is twenty years old and she tells that her Leica is 40 years old. Actually she has Leica M7, which slightly differs from older Leica cameras. This camera marketed only in 2002.

Plot: After the wild life-style of a famous young German photographer almost gets him killed, he goes to Palermo, Sicily to take a break. Can the beautiful city and a beautiful local woman help him calm himself down? |  »

Story: After the wild life-style of a famous young German photographer almost gets him killed, he goes to Palermo, Sicily to take a break. Can the beautiful city and a beautiful local woman help him calm himself down?

FullCast & Crew

Produced By:

  • Gianfranco Barbagallo known as line producer: Italy
  • Felix Eisele known as associate producer
  • Stephan Mallmann known as associate producer
  • Marco Mehlitz known as line producer
  • Gian-Piero Ringel known as producer
  • Peter Schwartzkopff known as executive producer
  • Jeremy Thomas known as executive producer
  • Wim Wenders known as producer
  • Paul Zischler known as assistant producer

FullCast & Crew:

  • Campino known as Finn
  • Inga Busch known as Karla
  • Axel Sichrovsky known as Hans
  • Gerhard Gutberlet known as Gerhard
  • Harry Blain known as Harry
  • Sebastian Blomberg known as Julian
  • Jana Pallaske known as Student
  • Olivia Asiedu-Poku known as Fan
  • Melika Foroutan known as Anke
  • Anna Orso known as Mother
  • Lou Reed known as Himself
  • Udo Samel known as Banker
  • Guiseppe Provinzano known as Actor 1
  • Guiseppe Massa known as Actor 2
  • Giovanna Mezzogiorno known as Flavia
  • Patrizia Schiavone known as Market Woman
  • Letizia Battaglia known as Photographer
  • Alessandro Dieli known as Doctor
  • Carmelo Billitteri known as Doorman
  • Dennis Hopper known as Frank
  • Andi known as (uncredited)
  • Breiti known as (uncredited)
  • Julia Domenica known as Fan (uncredited)
  • Irina Gerdt known as Dark-Haired Woman (uncredited)
  • Francesco Guzzo known as Giovanni (uncredited)
  • Milla Jovovich known as Herself (uncredited)
  • Kuddel known as (uncredited)
  • Peter Lindbergh known as (uncredited)
  • Wolfgang Michael known as Erwin (uncredited)
  • Leoluca Orlando known as (uncredited)
  • Giovanni Sollima known as Himself (uncredited)



Supporting Department

Makeup Department:
  • Barbara Lamelza known as hair designer
  • Barbara Lamelza known as makeup designer
  • Marcus Michael known as assistant hair stylist
  • Marcus Michael known as makeup artist
  • Susan Redfern known as special hair stylist
  • Nicole Stoewesand known as assistant makeup artist: Germany

Art Department:

  • Serena Boccanegra known as painter: Italy
  • Fabiola Cascio known as art department intern: Italy
  • Ludovica Ferrario known as art director: Italy
  • Ariane Haase known as stand-by props: Germany
  • Nina Hirschberg known as additional art direction: Germany
  • Nina Hirschberg known as on-set props: Italy
  • Anna Kasten known as art department intern: Italy
  • Oliver Koch known as art director: Germany
  • Luca Lucchesi known as on-set prop assistant: Italy
  • Caterina Margherita known as painter: Italy
  • Wolfgang Mohrhenn known as prop master: Germany
  • Frauke Nelißen known as assistant property master: Germany
  • Massimo Pauletto known as assistant art director: Italy
  • Elisabetta Pepino known as art department intern: Italy
  • Martin Scheferhoff known as on-set constructor: Germany
  • Bylyku Shpetim known as on-set constructor: Italy




Production Companies:

  • Neue Road Movies
  • P.O.R. Sicilia (co-production)
  • arte France Cinéma (co-production)
  • Zweites Deutsches Fernsehen (ZDF) (co-production)
  • Pictorion Pictures GmbH (in association with)
  • Rectangle Productions (in association with)
  • Reverse Angle Production (in association with)

Other Companies:

  • SGO / Mistika  digital equipment
  • Sonic Magic  adr recording


  • Axiom Films (2009) (UK) (theatrical)
  • BIM Distribuzione (2008) (Italy) (theatrical)
  • Boid (2011) (Japan) (theatrical)
  • Filmes do Estação (2009) (Brazil) (theatrical)
  • Océan Films (2008) (France) (theatrical)
  • Senator Film (2008) (Germany) (theatrical)
  • Axiom Films (2008) (UK) (all media)
  • Front Row Filmed Entertainment (2008) (United Arab Emirates) (all media) (Middle East)
  • Giangiacomo Feltrinelli Editore (2009) (Italy) (DVD)
  • HBO Hungary (2009) (Hungary) (TV) (original airing)
  • Hollywood Classic Entertainment Slovakia (2009) (Slovakia) (DVD)
  • Hollywood Classic Entertainment (2009) (Czech Republic) (DVD)
  • Odeon (2009) (Greece) (all media)



Other Stuff

Special Effects:

  • Pictorion_das Werk

Visual Effects by:

  • Wolf Bosse known as visual effects producer
  • Julian Braun known as digital compositor
  • Michael Brink known as visual effects producer
  • Joerg Bruemmer known as visual effects supervisor
  • Philipp Eckel known as recording
  • Alexander Falk known as system administrator
  • Philipp Fehling known as digital effects artist
  • Nico Hauter known as assistant colorist
  • Sven Heck known as digital intermediate conform artist
  • Sven Heim known as data wrangler
  • Kalle Max Hofmann known as digital effects artist
  • Alex Janke known as title designer
  • Lola Knoblach known as assistant colorist
  • Mathias Knöfler known as digital lab coordinator
  • Andreas Krieg known as 3D artist
  • Michael Krämer known as digital compositor
  • Christian Meckel known as system administrator
  • Sebastian Mietzner known as junior digital compositor
  • Julia Mueller-Madaus known as roto/prep
  • Rolf Muetze known as matte painting
  • Frieda Oberlin known as digital intermediate supervisor
  • Philipp Orgassa known as digital colorist
  • Frank Richter known as scanning
  • Lisa Riemer known as scanning coordinator
  • Andreas Schellenberg known as scanning coordinator
  • Johanna Sommer known as digital intermediate assistant coordinator
  • Gerhard Spring known as recording
  • Jonas Thorbrügge known as scanning
  • Christian Tröger known as digital intermediate finisher
  • Christian Wallmeier known as 3D artist

Release Date:

  • France 24 May 2008 (Cannes Film Festival)
  • Brazil 17 October 2008 (São Paulo International Film Festival)
  • Turkey 17 October 2008 (Eurasia Film Festival)
  • Canada 18 October 2008 (Festival du Nouveau Cinéma de Montréal)
  • Germany 13 November 2008 (Kinofest Lünen)
  • Germany 20 November 2008
  • Austria 21 November 2008
  • Italy 28 November 2008
  • Slovakia 29 November 2008 (Bratislava International Film Festival)
  • Croatia 8 January 2009
  • USA 20 January 2009 (Berlin & Beyond Festival)
  • Germany 11 February 2009 (Berlin International Film Festival)
  • Czech Republic 16 February 2009 (DVD premiere)
  • Slovakia 16 February 2009 (DVD premiere)
  • Portugal 5 March 2009
  • Czech Republic 27 March 2009 (Febio Film Festival)
  • Czech Republic 25 April 2009 (Pilsen Film Festival)
  • Italy 6 May 2009 (DVD premiere)
  • Turkey 29 May 2009
  • Germany 12 June 2009 (DVD premiere)
  • Russia 18 June 2009 (limited)
  • Hungary 14 August 2009 (TV premiere)
  • Poland 21 August 2009
  • South Korea 22 April 2010
  • UK 20 May 2011
  • Japan 3 September 2011 (Tokyo)



Filmography links and data courtesy of The Internet Movie Database

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Posted on March 30, 2012 by Harry in Movies | Tags: , .


  1. ruiresende84 ( from Porto, Portugal
    30 Mar 2012, 10:45 pm

    Wenders' supreme quality as an author, to my view, is that he knowsthat his films are not so much about what images show, but about imagesthemselves. This is his magic, and his curse. This is why i have ashelter in his films, and why so many increasingly misunderstand them(first reviews on this one show it will go to the same package).Wenders knows this, whenever he is making a film, he is reflecting onthe nature of image, and how that affects vision, and how visionaffects understanding, and how understanding affects meaning, andessence.

    Not few times, he addresses directly the theme, and embeds it in theplot of the film. This is such a case. Film about images. People whoare about image. People who become the images they fetch. The veryfirst scene makes it clear. It "frames" (how meaningful this word iswith Wenders) a landscape, through a window of a building which is initself all about framing. A pure volume full of square holes, all ofthem corresponding to a different frame, depending on moment you look,position, distance to the window. This building reflects thepersonality of the photographer, it is in itself a succession offrames, a closed capsule interlaced with partial views to the outside.

    Than we have a story about creating images. A character photographerwho loses his soul because he becomes a faker, he forgets the essence,he no longer searches for a truth in the image, instead he creates hisown fake truth. Fake Australian skies reflected on S.Paulo's windows,that kind of stuff. The introduction of Milla stands for this, as sheis photographed 'artificially', and than transported to the "true"environment. Than the photographer retires, isolated, to a place hefeels to be 'true' (a big port, Palermo means).

    Now the big things happen in Palermo.

    The woman. Her work is to recover images, it is to find the "truth" ofimages, it is to interpret the vision of somebody else. Those eyes ofthe painter, starring at the "camera", what he was seeing is what shewants to see. Check the oppositions, check how that fresco is worked onthe film: detail versus global sight, understanding versus loosing theessence, long versus short. Check how the time of an image isunderstood. The woman takes years working on one image, thephotographer produces thousands without understanding a single one.

    The Death. It's not the death, it's Dennis Hopper, and this matters. Tosee how Hopper was inserted in this project made the whole thing comeclear to me, and it completed a portion of my film life that i now knowwas incomplete. Hopper is here the designated master framer, the manwho observes life, who pulls strings (even though he is only doing hisjob). He is a superior agent, someone who is beyond and above all thatwe see. When people look at him, he looks back. He makes the record ofall that, we see that, that metaphor of arrows, of "shooting" with adouble meaning. So he is framed as much as he is a framer. Now,remember The American Friend. See that film before seeing this one ifyou can, it may strike you as 2 halves of the same idea, as it strokeme. Check how similar are the characters Hopper performs. There he wasalso the master framer, the manipulator behind the actions that we had.In fact he was manipulating a "framer" (literaly, a man who createdframes for paintings). He used the framer as he provided the main"image". That film, which i consider essential, was all about the samegame of images. Now we have an update, on how times changed (and withit changed deeply our relation to images) and how Wenders himselfchanged. Dennis Hopper is the connection, and his role is pivotal.

    Now, i believe that if you want to establish a successful relation to acreator you have to take his works for what they are. It's like lovingbeyond infatuation, like friendship beyond day to day chat. You have toenjoy the qualities and most important, acknowledge the flaws, and youhave to live with that. That's my kind of relation with Wenders. Hisfilms in the last 10 years or so have become more and more on the vergeof being an intellectual monologue, something you are supposed to sitand listen, and nod affirmatively with you head. That's something iwon't tolerate with other filmmakers (Stone, Tarantino), but that i'mwilling to put up with Wenders, because it matters to me what he has tosay. If, like i did, you are able to put up with discursive dialogs,and the sensation that the man beyond the scenes is leading you tobelieve that he has the Truth, you may let this change your life. Idid.

    A side quality you might appreciate is how music shapes theenvironment, regardless of the scenery. Wenders was also great inunderstanding this, now he does it with the aid of portable music. Themusic editing is great

    My opinion: 5/5

  2. hpark5 from United Kingdom
    30 Mar 2012, 10:45 pm

    I watched the film in Cannes with anticipation, and great 'trepidation'at the same time( given the director's previous flop) but came outnicely surprised, as did other people that I had the opportunity toexchange views with afterwards. There was an obvious feeling thatWenders has delivered us a very special film, and one that ispredominantly visionary in every way. But of course, this is not theopinion of many, who have been for a while unforgiving of Wenders andare still waiting for the next "Wings of Desire"…well folks, that'aint gonna happen' simply because Wenders is one of those raredirectors that never looks back. Maybe someone would care to noticethat "Palermo Shooting" is probably Wenders' most personal andcathartic work since "Kings of The Road", and that the portrayal of aslightly impassive well known photographer( just as in the mentionedclassic), who has come to a crossroads in is life falls beyond justbeing a coincidence, or a gimmick, but it is deliberate and mirrorsmore often than not Wenders himself. In Palermo, we feel to our bonesthe confusion and loneliness that Campino( for whom Wenders wrote thisscript)experiences, through the powerful and beautifully composed shotsand music that follow him as he comes to grip with Palermo and his ownghosts. Wenders presents us with incredibly varied and well chosenmusic and introduces the very 'of the moment' use of the ipod todeliver the tracks to coincide with the central character own moves.This concept on its own is not just a clever device but a subtle socialcomment, at which Wender's has always been good. It says an awful lotabout modern man at the cutting edge enjoying a successful professionallife, surrounded by every possible gadget which help him and controlhim at the same time. All the props that define Campino's character aredesirable, from the 360 degree rotating camera to the beautiful classiccar. So, even the way he wanders through Palermo's old streets make thefilm ultra modern, and breathtaking. Here Wenders is in top form in thecomposition of his scenes and juxtaposition of cultures and ideas.Oneof my favourite scenes in the film is when the photographer walks intoa derelict old theatre following some screaming voices. After walkingthrough the empty corridors he arrives at the source of the screams: aheated play is being rehearsed and a man appears to be shouting to achair that he holds at face level. The lines being shouted are notsubtitled for stronger effect, and Campino takes a sit on a back benchand just soaks in(as does the audience) the entire scene: the derelicttheatre, semi open to the elements, the passionate play that he cannotunderstand and it is so alien to his controlled self andculture….unable to tare himself away he stays until he falls asleep.The entire film is full of subtle and poignant moments and the cohesiveand straight story is blended to great effect with the surreal andsupernatural. The use of special effect is unprecedented in Wenders'work and here he achieves a very different type of film with the helpof these, permeating the psyche of his lead and pushing him intofurther confusion, to the point were he cannot tell the differencebetween dream and reality, and were the surreal takes centre stage asthe film reaches it's climax. Which points at the sheer metaphor thatlife is. How often do we find ourselves in situations which seemsurreal and that go beyond 'coincidence'? I for one could tell a few.The story of a self centred and successful man who, after having had anear death experience,goes through a live changing crisis is is indeednot new and has been tackled successfully before, BUT Wenders goes astep forward and in a original,and comic too, way makes his characterand DEATH( played to perfection by a wise old Dennis Hopper)confronteach other once more, keeping his lead, and us, always on the edges ofreality, in a way that is reminiscent of "Wings of Desire" indeed. Healso blatantly turns death into a 'good guy' who is there to advise asmuch as to scare…two concepts that are just a thread apart. Deathmakes the photographer question his intentions, even down to thepresumptuous use of his camera. So, when the man says" you shot me!"(referring to a moment when Death shoots at him with a bow and arrowfrom a balcony in Palermo, where the photographer is taking pictures),Death answers:" you shot me first! no one takes a picture of me!"Death's speech to the mortal is as relevant here as that which Wendersgave us in "Kings of the Road" from a frustrated son to an ageing andregretful father inside the newspaper printing workshop. I won't denythat I would've liked the film to end not too long after this point,and that I felt that we didn't really need to know about the femalecharacter's own ghosts. It could've been a leaner picture with a neaterending without this. I 'd also mention that the beginning dragged alittle as Campino's trendy life in Düsseldorf is presented to us a bittoo long. These are a bit annoying but can be forgiven of Wim Wendersas, nevertheless he has given us a striking, original and beautifulfilm.and he proves himself a true visionary once more. In time, I'msure this will become another one of his classics. With Palermo Wendersis, as usual, on the pulse of things, he has always been a verydifferent type of storyteller who can say as much with a few words,than without, and here he achieves both beautifully. The fabulous andoriginal use of music combined with astonishing cinematography and pacetakes us on a remarkable 'voyage'. Thank you Mr. Wenders

  3. John Peters from San Francisco
    30 Mar 2012, 10:45 pm

    I can't add much to hpark5's fine comments (though I'd encourage him orher to make use of paragraph breaks) so I won't attempt a full reviewof Palermo Shooting. I will mention, however, that when I saw the filmat the Berlin and Beyond Film Festival in San Francisco, it wasreceived enthusiastically by an audience of over a thousand people in apacked theater.

    Wim Wenders was present and answered questions after the film. Thethings he said were exceptionally thoughtful and responsive. Althoughhis work may be uneven because of his willingness to take risks, Ithought Palermo Shooting a major success. Wender's integration of thedeath theme with Palermo's ancient and decaying physical environmentwas especially impressive.

    To me, the crucial moment of the film occurs when Finn, thephotographer, asks Death what he can do for him. Death says that no onehas asked him this before and that the only thing that he can do is tolive well for the rest of his life.

  4. richard_sleboe from Germany
    30 Mar 2012, 10:45 pm

    This is easily Wim Wender's most pretentious movie to date, and that'ssaying a lot given that Wenders is perhaps the most pretentiousdirector of his generation. There is so much symbolic Mumbo-Jumbo Idon't know where to begin: Dungeons. Coffins. Dead people. Ghosts.Including Lou Reed as a black-and-white specter of himself. Flocks ofsheep. A shape-shifting city skyline. Hooded strangers, shooting arrowsand causing crashes. All of which I have seen before, and with morepanache: In "Dark City", in Cronenberg's "Crash", Paul Auster's "Luluon the Bridge", Tom Tykwer's "Winter Sleepers", even in TV's "Lost".I'm not even mentioning "The Devil's Advocate". At the height of hisself-importance, Wenders has Dennis Hopper, in the part of Deathhimself, make a speech about the merits of analog photography. Soundsridiculous? Go figure. But the weakest link is Wender's choice ofCampino as photographer Finn Gilbert, the lead character. Campino, aGerman rock star in his day job, may be photogenic in an aging toy boyway, but an actor he sure is not. Anything he says sounds like a linefrom a script, and the script is weak enough to begin with. Wendersasks too much of him, and too little of his co-lead GiovannaMezzogiornio, a fine actress restricted to sleepy smiles and sullenglances in this movie. Charming guest appearances by Jana Pallaske as afeisty arts student, Inga Busch as a sexy swimming instructor in Uggboots and a bathing suit, and by the divine Milla Jovovich as herglamorous self. Nice enough soundtrack, featuring Bonnie Prince Billy,Nick Cave, and The Velvet Underground. Watch with your eyes closed.

  5. kolo-5 from Albania
    30 Mar 2012, 10:45 pm

    I just saw the movie in International Film Festival of Durrës, eager asI was for another Wim Wenders experience. And I left the theater withmixed feelings. Images were so good, bur the story was so cheap. Theapology of Death at the end of the movie was awful, as if written by a15 years scholar. So was the dialogue with the shepherd. Cheap andcliché ideas about death and life. The presence in the story of G.Mezzogiorno was senseless and not justified at all. The story of aphotographer that takes a shoot of Death, is not bad, whatsoever. Butit surely didn't to be treated as in child books, with death comingtowards you and moralizing about life and death. And above all, thepregnant Milla, pretending deeper art in VIP Photo shooting, gave asense of pity. No worth seeing it twice.

  6. fucyeah from Bulgaria, Plovdiv
    30 Mar 2012, 10:45 pm

    So let's sum up what this movie is about: a guy that "has a failedlife"(it isn't really shown how his life is out of place they could atleast made him a crack addict) that is not in touch with the worldaround him and goes to a small but charming(…not) Italian town andfinds love, good food, old painting…and the meaning of life.

    So what can I say? Did I enjoy it? No. Will you enjoy it? Only if youhave not seen more than 2 films in your life: one being The PrincessBride and the other being Space Jam. If so the film will strike youwith it's dark images and "themes" and will leave you magnified by it'sdepth.

    Palermo Shooting was a real disaster for me so it's hard to chose whereto start. The acting was pretty bad. Dennis Hopper was too lame in it.Let's not forget that this was the role that predated his performancein An American Carol so this is not exactly rock bottom. Mr. Campino(when I first heard his name I thought he was an Italian designer butnow that I know that he is fronting a famous German rock band I knowthat he is really hip) reminds me of Macaulay Culkin in Home Alone butwith cool tattoos and a nice camera. Milla Jovovich wanted to mix withTHE art crowd so she decided to come and show her "magnificent belly".The others just are not worth mentioning. The story was cliché. It is amix of The Seventh Seal, the Disney adaptation of A Christmas Carol andmaybe something "wiered" like Eternal Sunshine… in the visuals(mostlythe dream sequences). I watched it in a cinema and it was loud. Whenthe film reached the point when the photographer meets the girl and shesays she understands him I thought the movie will turn in to a IndianaJones type of story and she will go on and tell him about the secretPalermo treasure guarded by the death. Such a shame it did not turnthat way… The music is out of place and I must admit there are somehip tunes but they are not at all in tone with the movie.

  7. jotix100 from New York
    30 Mar 2012, 10:45 pm

    Finn, the successful photographer, is an artist of this medium. As thestory begins, he is involved with several important projects. One thatis close to his heart, is a shoot with a pregnant Milla Jovovich. Asfar as the work goes, he is not satisfied, and neither is the actress.He suggests a change of locales. While examining some portfolio, hedecides to finish the work in Palermo, Sicily.

    Just before leaving, Finn has an unnerving experience. One nightdriving his convertible, listening to a loud soundtrack, he almostcollides with another car driven by a mysterious figure, he does notquite get to see. Finn seems to be a man searching for more than whathe now possesses. In spite of his fame he is not a fulfilled man. Oneday, Finn, who has climbed a tree that overlooks a placid meadow nearthe Rhine, meets another mysterious man dressed in a plastic raincoatwho is tending to a flock of sheep.

    After the shoot with Milla Jovovich is over, Finn decides to stay inPalermom for a while. The end result of his work is excellent, althoughfor the finished product showing a nude Milla, he could have done it inhis home base in Germany. The city has an intriguing allure to Finn.While admiring the area of the Quattro Canti, he falls asleep by theside of one of the buildings he has been admiring. He is awakened bythe mysterious hooded figure who is wielding a bow and arrow aiming athim. He feels wounded, but there is no sign of having been hit at all.

    Walking through the old streets of Palermo taking pictures with hiscamera, Finn discovers a museum. The door is open and he takes a chancegoing in. The only people in the place are two women that are restoringa giant painting from an obscure Sicilian artist. Flavia, who comesdown to talk to Finn, tells him about the picture. In the center thereis an animal-like figure that represents death. He is surprised to seea couple of clerics that appear to be dead stabbed by arrows.

    Through his walks in the city, Finn comes face to face with deathsymbols that, in a way, give him an uneasy feeling. Flavia shows areluctance to getting involved with Finn, but he wants to continueseeing her. She takes him to the port giving him a chance to see themagnificent views of Palermo. Finn takes picture with his prizedcamera. While photographing an interesting angle, he discovers a figureaiming at him. Trying to avoid the arrow, Finn breaks the camera andfalls in the water.

    As a surprise, Flavia decides to take Finn to her late grandmother'shome in a hill town. The old house has a mystery about it that playsinto the surreal antique setting. One night, Finn is awakened by anoise. He steps into the old library where he is chased by a man bathedin a white light that makes him appear as a ghost. Finn comes face toface with the man, who proclaims he is death. The ghost-like figurepoints out to Finn's brush with death. It all makes sense to him.Figuring he is about to die, he has yet, another surprise coming tohim.

    Wim Wender's "Palermo Shooting" was shown recently on a cable channel.The film does not seem to have been commercially released in the UnitedStates, but seen in festivals. It is a shame because although thedirector is not aiming for a broad audience, it pays off for seriousfans of his work. Mr. Wenders work in this film is almost acontinuation of some of his past work, more to the point, "Wings ofDesire". The film is dedicated to two influential masters in Mr.Wender's life, Michelangelo Antonioni and Igmar Bergman. One can seehow "Blowup" might have impressed him.

    Campino, appearing as Finn, does an amazing job for the director.Dennis Hopper gets reunited with Mr. Wenders in a small, but pivotalrole. The gorgeous Giovanna Mezzogiorno is perfect as Flavia. There aresome familiar faces in the film doing cameos for the director, notably,Lou Reed and Milla Jovovich.

    The film owes a lot to the editing of two men, Oli Weiss and PeterPrzygodda. The cinematography by Franz Lustig captures images that addthe aura of mystery and suspense. The musical score by Irmin Schmidtblends well with the popular songs being played. Although most peoplethought this film to be flawed and pretentious, it will be enjoyed byfans of Wim Wenders.

  8. acg_Pangea ( from Turkey
    30 Mar 2012, 10:45 pm

    Since I saw "Der Himmel über Berlin" approximately 3 years ago I'vebecome a valid Vim Venders fan. After that day, I always thought, WimWenders had something original to say. Palermo Shooting hasn't changedmy verdict, well… Almost. The Thing about Palermo Shooting that Iguess, this movie tells the well known story with different methods.The methods that little bit um, shall we say cheesy? Of course, thisdoesn't mean that it's not a enjoyable movie. It's very "warm" movieafter all. But despite all this "warmness", you think in somewhere,something/things is/are missing in this movie. Still, it's worth towatching.

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