Synopsis
Petra professionally works as a thief abroad to finance the studies of her younger sister Franziska in Germany.
' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_f81c0eeb-ccd9-4a4a-85f3-feadc7348266" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-f81c0eeb-ccd9-4a4a-85f3-feadc7348266'; adUnit.className = 'pw-div'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'sky_btf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-f81c0eeb-ccd9-4a4a-85f3-feadc7348266'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-f81c0eeb-ccd9-4a4a-85f3-feadc7348266'));
The Sex Thief
Cast
Director
Producers
Writer
Editor
Cinematography
Assistant Director
Production Design
Stunts
Composer
Costume Design
Makeup
Releases by Date
TV
-
Germany
Releases by Country
Germany
02 Nov 1998
- TV
Popular reviews
More-
Exchanging glances and spinning lies while befalling in larger hole of seedy desperation.
-
“I’m not looking for a man, but a job." "But it’s men who employ you.” Labor as prostitution, sex as transaction, bodies as capital so long as there are souls left to sustain them; it’s a cold world in Petzold’s post-reunification Germany, and Petra’s hotel-bar roundelays of pick-ups and shake-downs is just an especially efficient version of her sister’s cut-throat attempts to climb ahead in the corporate world. “What do men taste like?” “I have no idea. I take care of them beforehand.” In just his third neo-noir made-for-television outing, Petzold finds his clearest articulation yet of his particular brand of surveillance-laden, violence-inflected late-capitalist brooding, even if it already feels like he’s repeating himself a bit. Missing the caustic humor…
-
Adroit and sensitive examination of the ways capitalist ideology distorts personal & romantic relationships; like the other Petzold I watched in a previous life, it reminds me a lot of Graf's Maps Of The Heart, with both directors being similarly situated in a post-Fassbinder praxis.
Notice also how it subverts/invalidates narrative tropes that were common to film melodrama in the 40s/50s (esp the "I'm doing bad things so my sibling will prosper" ... only here the sibling won't never prosper because the system's jiggered away from providing that.)
-
35mm print
Probably my least favourite of Christian Petzold's movies thus far, though it still speaks beautifully to his own skills as a filmmaker. But the central drama at the core of The Sex Thief is very moving, because Petzold makes it clear that this is a movie all about the aftereffects of capitalism on working class citizens who want nothing but the best for the people who they love dearly.
Like every other Petzold movie though, it ends on a note that you're never going to forget. If there's anything else that Petzold has been so consistently strong at, it's easy to say that happens to be it.
-
Neste filme, Petzold explora o tema do dinheiro e suas implicações sociais e pessoais. A história segue Petra, uma mulher que vive aplicando golpes em seus parceiros masculinos. Apesar do título sugestivo, não há sexo envolvido; as vítimas caem no golpe antes mesmo de qualquer ato íntimo.
O dinheiro, neste contexto, reflete a situação de uma Alemanha em reconstrução, mas o filme vai muito além dessa questão econômica. Petra reencontra sua irmã Franziska após um período de afastamento. A partir daí, uma trama de mentiras começa a se revelar. Ambas se enganavam mutuamente, apresentando-se como empresárias de sucesso, com vidas repletas de estudo e trabalho árduo. No entanto, conforme a história se desenrola, a verdade vem à tona e as…
-
Petzold se apropria dos códigos Hitchcockianos para estruturar uma história simples, com atmosfera de um noir digital (sujo). O mais interessante, porém, é perceber que assim como em seus filmes mais maduros, Petzold usa da simplicidade de seu melodrama e das relações humanas nele envolvidas para contar algo que envolve um contexto muito maior. Aqui, no caso, o sistema de mercado pelo qual a Alemanha experienciou nos anos 1990.
-
The third of Petzold’s acclaimed television films closes his unofficial trilogy about marginalized women on the run with a tale of two sisters: Petra, a seasoned femme fatale posing as a successful hotel manager to dupe rich men around the luxury tourist resorts of Morocco, and Franziska, a failed academic desperately seeking a job in Cologne. Petzold portrays the exotic North African locale and the bright gray shops and transit zones of western Germany with the same stark equanimity, portraying a world of creepy businessmen, crippling debt, and the crushing weight of capitalism with a life of crime the only chance of escape.
-
Almost every Petzold movie is about capitalist Germany but this one is really about capitalist Germany, and his usual "liminal spaces" pop off the screen here with Hitchcockian flair. I loved seeing a Petzold tragic melodrama centered around sisters, and Petzold turned that love against me like he always does.
-
Contains all the genius of Petzold's early features. We will be completing the filmography in due time !!
-
Hitchcockian thriller about a woman who seduces and steals from men and her relationship with her sister. Petzold’s take on MARNIE, and maybe his most critical examination of modern capitalism. Compelling but without the emotional resonance of his best work.
-
i didn't know Petzold could make films like this....magician fauritor de tristete bai.
-
Usar os códigos hitchckockianos para ilustrar a tensões provocadas por uma sociedade sedenta de lucro, onde tudo vira uma performance e quem singra são os melhores atores. Como habitualmente em Petzold é a dinâmica do melodrama (relação entre as duas irmãs) que constitui como centro nevrálgico do filme, à órbita do qual vai surgindo o retrato patriarcal e capitalista que vai permeando a própria personalidade e ações das personagens.
Alguém me pode indicar um filme menor do Petzold? Ainda não encontrei.