A Hidden Gem Among NYT's Best 21st Century Movies

On the brilliance of Maren Ade's TONI ERDMANN

One of the many things I love about a massive list-making project such as The New York Times’ industry ranking of the best 21st-century movies is the way it can elevate lesser-known titles onto people’s radars. Many of the most ardent cinephiles I know had a Toni Erdmann-sized blind spot on how much they’d seen of the list, and I’m here to help correct that.

Toni Erdmann, 2016. © Sony Pictures Classics

Maren Ade’s nearly three-hour German comedy (not an oxymoron) ranked at #59 on the list — that’s above Whiplash, Oppenheimer, The Tree of Life, and 38 other beloved films. I knew Toni Erdmann was special when I caught it on the 2016 festival circuit, but this unconventional father-daughter story stayed with me far longer than I would have anticipated. I’ve now seen it five times in total, including a watch with the DVD commentary track on, and am willing to drop the M-word. It’s a masterpiece.

Why, then, has it lingered in obscurity over the last decade? I’ve got a few theories. Its length makes it seem imposing, and foreign comedies often give off an air of being culturally specific in ways that make their humor hard to translate. At one point, an English-language remake was in the works with Lena Dunham adapting the script for Kristen Wiig and Jack Nicholson (coming out of retirement to star!) as the central pair. Filmmaker Maren Ade has yet to direct her next movie (and we are all the worse for it).

The film has not had much play on any major streaming services, either, so you’ll have to fork over a few dollars of your hard-earned money in a rental for the pleasure. If you want to see more of Sandra Hüller after she captivated you in 2023’s one-two punch of Anatomy of a Fall and The Zone of Interest, this movie is for you. If you like movies that toggle seamlessly between comedy and drama in a way that feels like it’s expanding the tonal register of cinema, this movie is for you. If you want a pulse on the state of Europe, this movie is for you. If you just love receiving a fascinating perspective on a familiar family dynamic, this movie is for you.

It may seem daunting, but I’m here to help you get the most out of the watch. Here’s my original review of the film and an analysis of the film in tandem with what might seem like an unexpected pairing: Julia Ducornau’s Raw.

Paid subscribers can enjoy a close read on the film’s centerpiece musical number I penned a few years ago. I submitted this on spec for an open call where it was not ultimately accepted, but I’m really proud of the writing here and have been waiting for a great opportunity to share it.