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Theatrical release poster
|Directed by||Maren Ade|
|Written by||Maren Ade|
|Music by||Patrick Veigel|
|Edited by||Heike Parplies|
|Box office||$8.3 million|
It won five awards at the 29th European Film Awards: Best Film (a first for a film directed by a woman), Best Director, Best Screenwriter, Best Actor, and Best Actress. It also won the European Parliament LUX Prize. It was nominated for the Best Foreign Language Film at the 89th Academy Awards and was considered the strong favourite for the award; it lost to The Salesman.
Winfried Conradi is a divorced music teacher, an old-age hippie of sorts, with a passion for bizarre pranks involving several fake personas. Following the death of his beloved dog, he decides to reconnect with his daughter, Ines, who is pursuing a career in business consulting. Ines is currently posted in Bucharest, Romania, where she works on an outsourcing project in the oil industry. She is consumed by her work and seems to have little time for her family, least of all her father.
Winfried spontaneously travels to Bucharest and waits for Ines in the lobby of an office complex. After several hours, she finally appears, accompanied by several of her client's board members and on the way to a meeting. Winfried puts on sunglasses and fake teeth as a playful disguise, and approaches her from the side while hiding behind a newspaper. Ines completely ignores her father, but meets with him briefly after work and invites him to a business reception.
In the evening, Winfried accompanies Ines to the reception at the American Embassy, where they meet Henneberg, a German oil company CEO with whom Ines wishes to secure a consulting contract. Ines tries desperately to gain Henneberg's attention, but Henneberg seems more interested in her father. Winfried tells Henneberg that he has hired a replacement daughter because Ines is always busy. To Ines' surprise, Henneberg invites Winfried and Ines for drinks, along with his entourage. At the bar, Henneberg once again brushes aside Ines, and makes fun of Winfried.
After several days, Ines and Winfried are struggling to get along. Ines is consumed by work-related stress and oversleeps a planned rendezvous with clients, blaming her father for not waking her up. Winfried, feeling alienated and unwanted, leaves in a taxi for the airport. Ines continues with her work as normal, and several days later arranges to meet two female friends at a bar. While Ines and her friends are chatting, a man approaches and introduces himself as "Toni Erdmann". The man is clearly Winfried, disguised in a wig and with false teeth, but Ines does not let on. Ines' two friends politely engage "Erdmann" in conversation, and he explains that he is a "life coach" and consultant visiting Bucharest to attend the funeral of his friend's turtle.
Ines is increasingly frustrated and unfulfilled in her work and personal life, but continues to encounter "Erdmann" sporadically at parties or outside her office. At first Ines is angry with her father, and accuses him of trying to "ruin" her. However, as time goes on she comes to see the worth of her father's interventions in her life, and plays along with the "Erdmann" ruse. "Erdmann" accompanies her on a night out with her work friends, and eventually even comes to a business meeting with her. In turn, "Erdmann" takes Ines to a Romanian family's Easter party, where he forces her into a reluctant and comical, yet powerful, performance of Whitney Houston's "Greatest Love of All". After her performance, Ines promptly rushes off.
Back at her flat, Ines is preparing to host a business team-building brunch to celebrate her birthday. She struggles to zip up her tight dress, realizes her shoes don't match, and attempts to change clothes. The doorbell rings. Instead of redressing, or changing her outfit, she opens the door naked. Spontaneously, she decides to tell her guests that her birthday brunch is a "naked party". Each of them reacts differently, with some leaving in disgust while others self-consciously strip off. As the party becomes increasingly awkward, Winfried arrives dressed in a full-body Bulgarian kukeri costume. The costume frightens Ines' colleagues, but when Winfried leaves the party Ines follows him. Outside in a public park, father and daughter hug and share a moment of intimacy—despite Winfried's impractical and incongruous costume.
Months later, Ines returns to Germany for her grandmother's funeral. She explains that she has quit her job in Bucharest and will shortly begin a new job in Singapore with McKinsey & Company. After the funeral, Winfried and Ines play with some funny hats in the garden of her grandmother's house, and reflect on the nature of happiness.
The character of Winfried was loosely based on Ade's own father who wore a pair of fake teeth she gave him as a gag gift to play practical jokes. She was also influenced by the comedian Andy Kaufman's character, Tony Clifton, whom she saw as an off-the-wall alter ego.
Ade set the film in Bucharest in part because many German companies had begun to do business there at the end of the communist era, with many foreign consultants sent to "change the system" and help businesses turn a profit. "And I like the new wave of Romanian films right now, too. So it’d be fun to work there."
Toni Erdmann had its world premiere at the 2016 Cannes Film Festival. The film was originally accepted into the less prestigious Un Certain Regard section of the 2016 Cannes Film Festival. The night before the press conference in April Ade and her producer received an email that the film had been selected to compete for the Palme d'Or. Shortly after, Sony Pictures Classics and Soda Pictures acquired U.S, Latin American and UK distribution rights to the film, respectively.
The film went on to screen at the Filmfest München on 23 June 2016. Sydney Film Festival on 15 June 2016. Karlovy Vary International Film Festival on 3 July 2016. Telluride Film Festival on 2 September 2016. Toronto International Film Festival on 8 September 2016. New York Film Festival on 2 October 2016. and the BFI London Film Festival on 8 October 2016.
Critics have generally described the film as a comedy-drama. Director Ade said she thought the story "always had both genres within it, because [Winfried is] playing a comedy for [Ines], but he’s doing it out of desperation." In writing the script, Ade was interested in the film's comedic potential, though she had doubts during the filming. "Then, when we edited the film, I found that the comedy was even stronger because we took things so seriously. For example, in scenes like the naked party where the boss is standing at the door, it was really necessary in terms of comedy for it to be as existential as possible" with the "actor not thinking of it as a comedy."
Hüller said that she always thinks "about how humor works" and it was this question "we were asking ourselves during the process. What is it that makes people laugh? What is funny about Toni? I think...desperation...is the origin of comedy." Falling out of a chair is "the oldest joke." But even when things don't work, "you really have to try, seriously. I think that’s what we did — you never have to play the joke."
Toni Erdmann opened on July 14, 2016, in Germany and was watched by 752,000 domestic viewers that same year. The movie was widely advertised through all public media channels and became the 40th most watched movie in Germany in 2016.
The film received universal acclaim from critics. It holds a 92% approval rating on review aggregator website Rotten Tomatoes, based on 172 reviews, with an average rating of 8.3/10. The site's critical consensus reads, "Toni Erdmann pairs carefully constructed, three-dimensional characters in a tenderly funny character study that's both genuinely moving and impressively ambitious." On Metacritic, the film holds a rating of 93 out of 100, based on 36 reviews, indicating "universal acclaim".
The film was named as the best film of the year by the French magazine Cahiers du cinéma. The British film magazine Sight & Sound also named Toni Erdmann as the best film of 2016 in its poll of 163 critics worldwide. In a 2016 international critics' poll conducted by BBC, the film alongside with Requiem for a Dream and the film version of Carlos were tied together and were three voted together as the 100 greatest motion pictures since 2000. It also topped the American magazine Film Comment's Best Films of 2016 poll. The New York Times’s chief film critics, A. O. Scott and Manohla Dargis, included it in their own lists.
In August 2016, the film won the FIPRESCI (International Federation of Film Critics)'s Grand Prix for best film of the year, and making it the first time this accolade has been awarded to a female filmmaker.
|List of awards and nominations|
|Award||Date of ceremony||Category||Recipient(s)||Result||Ref(s)|
|Academy Awards||February 26, 2017||Best Foreign Language Film||Maren Ade||Nominated||
|Alliance of Women Film Journalists||December 21, 2016||Best Non-English-Language Film||Maren Ade||Nominated||
|Austin Film Critics Association||December 28, 2016||Best Foreign Language Film||Toni Erdmann||Nominated||
|British Academy Film Awards||February 12, 2017||Best Film Not in the English Language||Toni Erdmann||Nominated|||
|British Independent Film Awards||December 4, 2016||Best Foreign Independent Film||Maren Ade, Jonas Dornbach, Janine Jackowski and Michael Merkt||Nominated|||
|Brussels Film Festival||June 24, 2016||Golden Iris Award||Maren Ade||Won|||
|RTBF TV Prize for Best Film||Maren Ade||Won|
|Best Screenplay Award||Maren Ade||Won|
|Cannes Film Festival||May 22, 2016||FIPRESCI Award||Maren Ade||Won|||
|Palme d'Or||Maren Ade||Nominated|
|César Award||February 24, 2017||Meilleur film étranger||Toni Erdmann||Nominated|||
|Chicago Film Critics Association||December 15, 2016||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Critics' Choice Awards||December 11, 2016||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Dallas–Fort Worth Film Critics Association||December 13, 2016||Best Foreign Language Film||Toni Erdmann||2nd Place|||
|Denver Film Critics Society||January 16, 2017||Best Foreign Language Film||Toni Erdmann||Won|||
|Dorian Awards||January 26, 2017||Foreign Language Film of the Year||Toni Erdmann||Nominated|||
|European Film Awards||December 10, 2016||Best Film||Toni Erdmann||Won|||
|Best Director||Maren Ade||Won|
|Best Screenwriter||Maren Ade||Won|
|Best Actor||Peter Simonischek||Won|
|Best Actress||Sandra Hüller||Won|
|Florida Film Critics Circle||December 23, 2016||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Golden Globe Awards||January 8, 2017||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Guldbagge Awards||January 23, 2017||Best Foreign Film||Toni Erdmann||Nominated|||
|Houston Film Critics Society||January 6, 2017||Best Foreign Language Film||Toni Erdmann||Nominated||
|Independent Spirit Awards||February 25, 2017||Best International Film||Toni Erdmann||Won|||
|IndieWire Critics Poll||December 19, 2016||Best Film||Toni Erdmann||4th Place|||
|Best Director||Maren Ade||3rd Place|
|Best Actress||Sandra Hüller||3rd Place|
|Best Actor||Peter Simonischek||4th Place|
|Best Screenplay||Toni Erdmann||7th Place|
|London Film Critics Circle||January 22, 2017||Film of the Year||Toni Erdmann||Nominated|||
|Director of the Year||Maren Ade||Nominated|
|Actor of the Year||Peter Simonischek||Nominated|
|Actress of the Year||Sandra Hüller||Nominated|
|Screenwriter of the Year||Maren Ade||Nominated|
|Foreign Language Film of the Year||Toni Erdmann||Won|
|Los Angeles Film Critics Association||December 4, 2016||Best Foreign Language Film||Toni Erdmann||Runner-up|||
|National Society of Film Critics||January 7, 2017||Best Actress||Sandra Hüller||2nd Place[a]|||
|Best Foreign Language Film||Toni Erdmann||Won|
|New York Film Critics Circle||December 1, 2016||Best Foreign Language Film||Toni Erdmann||Won|||
|New York Film Critics Online||December 11, 2016||Top 12 Films||Toni Erdmann||Won|||
|Online Film Critics Society||January 3, 2017||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Palić Film Festival||July 22, 2016||Golden Tower for Best Film||Maren Ade||Won|||
|Palm Springs International Film Festival||January 15, 2017||FIPRESCI Prize for Best Foreign Language Film of the Year||Toni Erdmann||Won|||
|San Francisco Film Critics Circle||December 11, 2016||Best Foreign Language Film||Toni Erdmann||Nominated||
|Satellite Awards||February 19, 2017||Best Foreign Language Film||Toni Erdmann||Nominated|||
|St. Louis Gateway Film Critics Association||December 18, 2016||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Toronto Film Critics Association||December 11, 2016||Best Film||Toni Erdmann||Runner-up|||
|Best Actor||Peter Simonischek||Runner-up|
|Best Actress||Sandra Hüller||Won|
|Best Director||Maren Ade||Won|
|Best Screenplay||Maren Ade||Runner-up|
|Best Foreign Language Film||Toni Erdmann||Won|
|Vancouver Film Critics Circle||December 20, 2016||Best Foreign Language Film||Toni Erdmann||Won|||
|Washington D.C. Area Film Critics Association||December 5, 2016||Best Foreign Language Film||Toni Erdmann||Nominated|||
|Women Film Critics Circle||December 19, 2016||Best Foreign Film by or about Women||Toni Erdmann||Nominated|||
On 7 February 2017, Variety announced that Paramount Pictures had signed Jack Nicholson and Kristen Wiig for an American remake of the film, with Adam McKay, Will Ferrell, and Jessica Elbaum as producers.