In the Fade

Rotten Tomatoes Critics - Certified Fresh 75%
Rotten Tomatoes Audience - Upright 69%
IMDb Rating 7.1 10 20


Downloaded 299,061 times
April 5, 2019



Diane Kruger as Anna Holtz
Numan Acar as Abdul
Ulrich Tukur as Georg Lehnert
720p.BLU 1080p.BLU
893.74 MB
23.976 fps
106 min
P/S N/A / N/A
1.69 GB
23.976 fps
106 min
P/S N/A / N/A

Movie Reviews

Reviewed by Platypuschow 5 / 10 / 10

Aus dem Nichts: Lacks the shock factor

In The Fade is a German revenge themed thriller starring Diane Kruger and it's a just barely passable affair. It tells the story of a woman who loses her husband and six year old son in an explosion. In a state of mourning the investigation begins, but can she trust the justice system? I like revenge tales but lately they've been missing their mark somewhat and sadly In The Fade is no exception. To make matters worse I don't have the best history with German cinema, I just rarely find myself enjoying their works. The performances are passable, the plot is generic but okay, the issue is that it's just not got that shock factor. Her husband and son have been blown into dog food sized chunks, why does it not feel appropriately devastating? For this reason it lacked the required impact, the bleak slow pace did it no favors and the finale was predictable and underwhelming. Shoulda, woulda, coulda been better. The Good: Strong performances The Bad: Lacks impact Bleak and depressing beyond its needs Things I Learnt From This Movie: At least 50% of the films budget was spent on cancer sticks

Reviewed by Rincewind799 5 / 10 / 10

Almost too real...

Only after I saw "Aus dem Nichts" I realized the distance felt watching foreign movies, that keeps me safe from too much emotional contact. As a German this movie felt so real, depicting real events (apart from the ending) and knowing these evil bastards are still among us, planing their next move. The ending could have been more satisfying, but this was probably the only realistic conclusion for a mother and wife, that lost everything. Diane Kruger was amazing, tears were shed and after the credits rolled, I needed another 10 minutes to get up. Very powerful movie, but you should be in the right mood.

Reviewed by Bertaut 5 / 10 / 10

Disappointingly shallow

Fatih Akin, the writer and director of Aus dem nichts [lit. trans. From Nothing] is a political individual; he makes political films and he makes political statements in his personal life. Akin identifies as a German-Turk; he was born in Hamburg, but his parents are both Turkish, having come to Germany with the first wave of Turkish immigrants following the Wirtschaftswunder of the fifties and sixties. He lives and works in Germany, and although almost all of his films are set there (the notable exception is The Cut (2014)), and all have German-funding, he considers himself a Turkish filmmaker. When he won Best Screenplay for Auf der anderen Seite (2007) at the 2007 Cannes Film Festival, he accepted the award "on behalf of Turkish cinema." Easily the best known/most notorious of his political statements, however, was in 2006 when he was photographed wearing a t-shirt with the word "BUSH" on it, but with the "S" replaced by a swastika. Displaying a swastika in public is against the law in Germany, and after a complaint was made, he was investigated (but not charged) by German police. He later defended the shirt, stating "Bush's policy is comparable with that of the Third Reich. I think that under Bush, Hollywood has been making certain films at the request of the Pentagon to normalise things like torture and Guantánamo. I'm convinced the Bush administration wants a third world war. I think they're fascists [...] You can apply irony to something like that. You can redefine the symbol in a politically correct horizon. My T-shirt is more than mere provocation. You have to look into the context. The swastika is not there on its own, but as part of the word 'BUSH.' One would have to be pretty stupid, not to understand that." In short, this is not a guy afraid to speak his mind. Akin's main political preoccupation in his filmography, however, is not Nazism or American presidents, it's the experience of Turkish immigrants in Germany, specifically the racism often directed towards them, racism which is oftentimes found masquerading as patriotism. It is unknown how many Turks are actually in Germany, as the German census doesn't allow people to record their ethnicity, but as of 2011, there were 2.7 million inhabitants with at least one Turkish parent. However, academic estimates suggest there be as many as 7 million Turks, or people identifying as Turks, in the country. Now, with that many people of a different nationality in a country, problems are going to arise (just ask the British), and this is where Akin focuses a great deal of his energies. Everything from Solino (2002) to Gegen die Wand (2004) to Auf der anderen Seite to Soul Kitchen (2009) has political DNA derived from the experience of racism in Germany. So, with that in mind, the plot outline for Nichts doesn't jump off the page as a typical Akin film - when former convicted drug dealer, Nuri Sekerci (Numan Acar), and his son are killed in a bomb blast at his office, his wife, Katja (Diane Kruger) has faith that the police and courts will find and punish those responsible. However, as Katja finds herself becoming more and more disillusioned with the systems which are supposed to be on her side, she comes to believe she must take things into her own hands. Read like that, this could be any number of bad Hollywood movies (the wonderfully risible Law Abiding Citizen (2009) springs to mind). However, when we include the fact that Nuri is Turkish, and that the police quickly come to suspect the bombing may have been connected to a Neo-Nazi group, it fits much more comfortably into his oeuvre. Unfortunately, it's not very good. First of all, the film is rigidly divided into an intentionally artificial three-act structure, with each act given its own title ("The Family", "The Trial", and "The Sea") and introduction by way of home-movie footage. One of the most significant problems with the film is that the acts simply don't yoke. The first is a pretty decent study in grief, the second is a rather dull court-room drama, and the third is a bizarrely hollow (and irritatingly repetitive) investigation into the morality of revenge. The last act mirrors the first in its use of slow pacing, long shots of people not doing very much, and sparse dialogue (as opposed to the very wordy second act), and while this is interesting in setting the narrative up in the first act, it falls flat in the third, as the whole thing ends up coming across as rather po-faced and self-important; a film convinced of its own profundity. For all that, however, up until the conclusion, I was thinking I would give it a six; it's entertaining enough, in a fairly disposable way. But then the bottom falls out. The last scene itself is actually pretty good. It's what happens next that irritated me. This has not been an especially political film - the Neo-Nazi storyline barely features; a few mentions by police in the first act, a single scene in the second, and a couple of short scenes in the third. That's it. As Katja is the only character who is really given any degree of agency, the Neo-Nazi characters are little more than background extras (in fact, in some scenes, they are literally background extras). So this is not a film which spends a lot of time delving into issues of racism in Germany or offering insight into the rise of Right-Wing Populism across Europe. It's a revenge drama. However, as it ends, a legend appears on-screen informing the audience how many race crimes are committed against Turks in Germany each year. The film has absolutely not, by any stretch of the imagination, earned the right to preach to the audience in this way. It's almost as if Akin forgot he was trying to make something political, only remembering in time to throw together a vaguely worded statement on the sufferings of his people in an effort to give the audience something to think about. It doesn't work, with the statement serving only to trivialise the issue by trying to tie it to a film in which it barely featured, and it leaves a decidedly bitter aftertaste. 5/10

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