Toni Erdmann

Odd couples have been a recurring theme of German writer/director Maren Ade's first three features, but father and daughter Peter Simonischek and Sandra Hüller are easily her most eccentric pair. Feeling low following the death of his faithful hound, Simonischek's music teacher heads to Bucharest to pay his daughter (Hüller) a surprise visit. However, he quickly outstays his welcome and tries to atone by adopting a new persona that he hopes will smooth out Hüller's relationships with her friends and work colleagues. Exploring corporate sexism, the decline in business ethics, the EU's betrayal of the post-Communist bloc and communication in the mobile age, this playful screwball comedy has plenty to say about the state of the continent. From the insinuatingly discreet cinematography to the magnificent Bulgarian folk costume, the production values are as pitch perfect as the acting. But, for all the acuity of the satire and the unpredictability of the story, Ade's focus remains firmly on the wacky Simonischek and the buttoned-up Hüller, as they negotiate awkward farewells, kinky tea-times, impromptu musical interludes and parties in the altogether.