Tobias Nolle in his film ‘Aloys’ treads on unfamiliar territory and lets his protagonist Aloys Adorn (Georg Friedrich), a loner private investigator, test his own limits in human interaction. Dabbling with magical realism, ‘Aloys’ is a densely dark film that lurks around the unexplored corners of the human psyche.
‘Aloys’ proves beyond doubt, what a fine technician Nolle is, and through some brilliantly crafted visuals, etches out in precise terms, the desolation of its chief character. Holed up in an apartment that he refuses to open to knocking visitors, Aloys spends his days hiding behind the dark curtains that ward off the daylight.
The telephone hikes that Aloys and Vera (Tilde von Overbeck) indulge in, take them along on a reverie romp, that is punctured every now and then by reality shots. There are times when the film appears mesmeric and others when it strikes you as opiate.
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