Gott ist ein toter Fisch 2002
In *Gott ist ein toter Fisch (2002)*, German director Wolfram von Bremen crafts a quietly moving drama that explores grief, loneliness, and the fragile search for joy.
Director: Wolfram von Bremen
Cast
Frequently Asked Questions
What is Gott ist ein toter Fisch (2002) about?
The film follows a young woman who inherits her mother's night kiosk amid personal heartbreak. To cope with her grief and a failing relationship, she records strangers' stories of happiness, only to find that their pursuit of joy mirrors her own struggles with loneliness and fate.
Who directed Gott ist ein toter Fisch?
Wolfram von Bremen directed *Gott ist ein toter Fisch* (2002), bringing a sensitive, observational style to this character-driven drama.
Who stars in Gott ist ein toter Fisch?
The film features Maggie Peren, Oliver Clemens, Sabine Radebold, Oliver Wnuk, and Sissi Perlinger in key roles.
Is Gott ist ein toter Fisch (2002) worth watching?
For fans of intimate, dialogue-driven dramas, *Gott ist ein toter Fisch* offers a poignant look at human resilience. While it's an understated film without mass appeal, its themes of connection and healing resonate throughout its 88-minute runtime.
How long is Gott ist ein toter Fisch?
The runtime of *Gott ist ein toter Fisch* (2002) is 88 minutes.
About Gott ist ein toter Fisch (2002) — A Quiet Drama of Grief and Unexpected Joy
In *Gott ist ein toter Fisch (2002)*, German director Wolfram von Bremen crafts a quietly moving drama that explores grief, loneliness, and the fragile search for joy. After inheriting a nighttime kiosk from her late mother, a young woman grapples with heartbreak as her relationship crumbles around her. To cope, she turns to the colorful characters who frequent the shop—friends, strangers, even casual customers—inviting them to share their own stories of happiness. Capturing each tale on video, she discovers an unexpected truth: everyone she meets is running from their own shadows, chasing fleeting moments of comfort in a world that often feels indifferent.
As the piles of recorded testimonies grow, the line between their confessions and her own healing begins to blur. The film unfolds with a meditative rhythm, weaving together raw emotion and subtle humor against the backdrop of Berlin's nocturnal streets. With its intimate scale and understated performances, *Gott ist ein toter Fisch (2002)* becomes more than a story about loss—it's a tender meditation on how stories, whether shared or recorded, can stitch together the fragments of a fractured life.