ThiefHott Too much of everything

CrawlerChunky In truth, there is barely enough story here to make a film.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

ginnosaji I watched this movie a few years ago in a screening provided by our school for educational purposes. The topic itself isn't often depicted in German movies. That's why I was excited to see "Kriegerin". It even won the "German Film Award for Best Feature Film" so it had to be good - but it wasn't.While it is indeed interesting to see the rare portrayal of a female neo-Nazi, and a girl who is getting involved with the right-wing extremist skinheads, "Kriegerin" fails at other aspects. As a German citizen and someone familiar with the right-wing extremist culture, I think it's only showing a clichéd picture composed of neo-Nazis with combat boots, lots of tattoos which say "14 words" or "88", and who are dumb and only seeking violence. It seems as though they are a rather barbaric people. Right-wing extremist skinheads –who behave most of the time as shown in the movie- are not the majority anymore among the neo-Nazis, in fact they're number is decreasing. Neo-Nazism still lives mainly because of two factors: 1. "Autonome Nationalisten (AN)", who make up the largest group of Nazis 2. Political parties such as "NPD", "Republikaner" and other influences in politics."Kriegerin" fails raising awareness of how someone gets sucked into the neo-Nazi scene and what the "common" Nazi is like today. It doesn't really matter whether the acting - especially of Alina Levshin- was good or if the approach of going with female main characters is brave and interesting – the main purpose should be educating the viewer about current racism and anti-Semitism in Germany. Unfortunately, the filmmakers didn't deliver at all. Search the web for "Autonome Nationalisten", and you get a vastly different picture about today's Nazis and their recruiting and propaganda strategies.

Horst in Translation (filmreviews@web.de) "Kriegerin" (German term for a female warrior) is a 4-year-old 105-minute movie written and directed by David Wnendt. The best way to see this is not as a film which will tell you accurately about life as a Nazi or life in a Nazi community, but as a character study of two females and what factors caused them to end up in this company of right-wing extremists. It has a lot to do with the behavior from their parents including emotional and physical (the cigarette scene) abuse by those who are supposed to protect them and help them finding their place in life. The way these two girls developed during the movie makes it obvious that they do not necessarily believe in the ideal of Nazis, but their acting in accordance with them is really more a consequence of wanting to belong somewhere and being accepted the way they are. However, quite ironically, they are changing in order to be accepted and they willingly do so. I am not really sure if I found Levshin's or Haase's character more interesting. However, it is obvious that Levshin's character sees parallels to herself in Haase's character. And as she becomes more tolerant (also thanks to the boy), she tries to be a helping hand to Haase's character and maybe prevent her from making the same mistakes she did.This was the big breakthrough film for Ukrainian-born Alina Levshin. She won a German Film Award for it and is since considered among the top actresses of her generation on the German market. And it was also one of Haase's breakthrough films. David Wnendt won a German Film Award as well for his screenplay and the film itself was honored as the third best movie of the year. Wnendt went on to direct the heavily-discussed "Feuchtgebiete" (based on Charlotte Roche's novel) after that, an in my opinion terrible film that couldn't be more different from "Kriegerin". Still, somehow I expected more from "Kriergerin". I really do not believe the screenplay is that good. It's almost entirely Levshin's performance which holds this film so well together. At times, especially at the very final scene near the sea this film could have done with tome more subtlety in my opinion. But Wnendt went for over-the-top showiness instead sadly. Also, I would have preferred an approach which not only displays the women in the Nazi community as victims or as somewhat good people. Maybe one of the guys helping the girls would have been nice as well. It's almost sexist. With some slight alterations, this could have been an actually great film and not only a decent one. Still, all in all, I recommend watching it.

dusan-22 Very good by all means. Done marvelously in the technical and artistic way. And did I say very touching? The movie has dark and very heavy structure. It looks so authentic that involves you easily and then make you upset. It gives a smart portrait of the local neo-nazi movement in one German town but also all the social background that causes the phenomena of it. The basis of the whole movement was actually shown through the character of the main character. The ideals of its members are the same but the inner struggles of the individuals are individual. Fight between good and bad, between love and hate depicted beautifully followed by excellent acting. I also found the music very good. Excellent work! Keep on working.

wvisser-leusden This excellent film is about young adolescents, who painfully discover that their modest intellectual capacities do not match the high standards of today's complicated Western society.The disappointment & frustration, fed by their failure to connect, result in political extremism. German neo-Nazism unites them in hatred, providing emotional shelter as well as a channel to demonstrate their views. Inevitably it all leads to a dead end.'Kriegerin' (= German for 'female warrior') stands out for two reasons. First, the excellent acting of lead Alina Levshin; second, the way this film is shot.'Kriegerin's picturing is very sober. No menu to start with, no trailer, no interviews, no deleted scenes; just the film. When on its way, we find the film's picturing done from a pretty narrow angle. Forcing you to concentrate on its action & interaction, leaving out any opportunity to enjoy a panoramic landscape or whatsoever. In this way 'Kriegerin's picturing connects with the limited views on life & society by its participants.