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The Royal Train
© Navigator Film
1/1
AUTEUR(S)-RÉALISATEUR(S)

Johannes Holzhausen

IMAGE

Joerg Burger

SON

Andreas Hamza, Vlad Voinescu

MONTAGE

Dieter Pichler

PRODUCTION / DIFFUSION

Navigator Film

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Wide House

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

Pas de résumé français disponible

A lost monarchy is represented by a princess whose steadfast mission is to restore to her dynasty real political and economic responsibility in contemporary Romania. With great energy, sometimes funny slips, too, but mostly with the appropriate royalist seriousness, Princess Margareta of Romania plays her role as the subject and object of her own campaign. The performance is of the tale of new wine in old wineskins. Surrounded by her courtly entourage, Margareta travels through “her” country in the same old royal train, on the same royal route, in which her father, King Michael the First, who died in exile in Switzerland in 2007, already sought contact with his subjects. It goes without saying that the red carpet as the most obvious symbol of monarchist grandeur must be immaculate even at the tiniest stop – though this isn’t always achieved perfectly.
Director Johannes Holzhausen observes the bustle around this backwards journey with a distanced and wide-eyed curiosity. After all, it reveals a telling (a-)simultaneity of the ancient k.u.k. ceremonial and newly blooming marketing drivel, while the common practice of toadyism brings forth grotesque blossoms on both levels.
(Ralph Eue)

A lost monarchy is represented by a princess whose steadfast mission is to restore to her dynasty real political and economic responsibility in contemporary Romania. With great energy, sometimes funny slips, too, but mostly with the appropriate royalist seriousness, Princess Margareta of Romania plays her role as the subject and object of her own campaign. The performance is of the tale of new wine in old wineskins. Surrounded by her courtly entourage, Margareta travels through “her” country in the same old royal train, on the same royal route, in which her father, King Michael the First, who died in exile in Switzerland in 2007, already sought contact with his subjects. It goes without saying that the red carpet as the most obvious symbol of monarchist grandeur must be immaculate even at the tiniest stop – though this isn’t always achieved perfectly.
Director Johannes Holzhausen observes the bustle around this backwards journey with a distanced and wide-eyed curiosity. After all, it reveals a telling (a-)simultaneity of the ancient k.u.k. ceremonial and newly blooming marketing drivel, while the common practice of toadyism brings forth grotesque blossoms on both levels.
(Ralph Eue)

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