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A Coffee in Berlin
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A Coffee in Berlin

Description
This tragicomedy is a self-ironic portrait of a young man who drops out of university and ends up wandering the streets of the city he lives: Berlin. Then on one fateful day, everything changes: his girlfriend rebuffs him, his father cuts off his allowance, and a strange psychiatrist dubiously confirms his 'emotional imbalance'.
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CRITICS OF "A Coffee in Berlin"
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East Bay Express

July 08, 2014

Lightly likable German indie-flavored romp.
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Compuserve
Resource

October 18, 2014

A charming slacker promenades about Berlin streets.
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Washington Post
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July 10, 2014

It manages to make an entertaining story out of nothing in particular. And just when you get comfortable passively observing a passive observer, the minutest of twists becomes its own call to action.
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Oregonian
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June 27, 2014

Its low-key, easy pace and refusal to put extra emphasis on anything gives the real emotions more power when they do arrive.
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Minneapolis Star Tribune
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June 26, 2014

The cheerful Dixieland soundtrack implies "A Coffee in Berlin" is a comedy, but the story line smears the screen with melancholy.
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The Film Stage
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April 12, 2016

Calm, cool and collected, [it's] a black and white German indie thats as much French New Wave as it is early Richard Linklater.
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Los Angeles Times
Resource

December 23, 2014

In spite of its insufferably whimsical tendencies - exemplified by its original title, "Oh Boy" - the film may have turned out to be a deeply profound modern postscript about fascism.
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Arts Fuse
Resource

July 11, 2014

A slight slacker comedy derivative of American indies but made by a youth-friendly German director of talent.
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Chicago Tribune
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June 26, 2014

As sure of itself visually in its black-and-white evocations of Berlin as its protagonist is unsure of himself and his future.
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Washington City Paper
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July 10, 2014

The film probes deep into the soul of Berlin, asking questions more befitting an old master than a rookie filmmaker.
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Boston Globe
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July 10, 2014

Niko's problem is not just that he's spoiled and lazy, but that he's a wimp about it. He only maintains viewer sympathy because everyone else in the film is so obnoxious.
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New Yorker
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June 23, 2014

In Gerster's view, Berlin's unresolved past taints its bustling charm and glossy serenity, as well as every familiar course of practical action-yet his movie veers toward the historical kitsch that he satirizes.
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