Oh Boy is somewhat reminiscent of Prozac Nation. The protagonist is an unlikable, spoilt child, leeching off others while breezing through life. It is an anti-"Coming of Age" film, showing how people refuse to "grow up" - even supposed adults. Niko's father is childish, his friend an underachieving actor and the former classmate he runs into is in a way still the little girl with a crush on him. It doesn't end there, even Germany itself refuses to "grow up", clinging to its Nazi past and sticking to absurd bureaucracy.

On top of having an amusing story, Oh Boy has lovely cinematography. Berlin looks great in black & white, and with the lazy jazzy soundtrack it sometimes seems like a 50s film. Quite a promising start from Gerster, who won just about every German film award around.

A movie describing the life of someone who can't find his place around people, how he feels that people became strangers to him, but actually, it's him becoming a stranger to himself.

The movie isn't much of an entertainment, at least it wasn't for me. Frankly, I was disappointed by the jazzy beginning, which led me to think more about Berlin as a future Woody Allen New York. But there are some scenes in the movie that were so simple to understand, they got me thinking.

The courage of one girl, which was once fat, which led her to stop ignoring what people say to her. Even if that means to put her in danger, she can't leave thoughts unsaid.

But by far, the phrase that struck me deeply, was that "People can't bear the dark anymore". It led me to think about the insecurity people feel these days, and how they're afraid to be alone with themselves.

The title of this award-winning 2014 German film is a tease, since the protagonist spends the day the movie describes trying—and failing—to score a cup of joe. Would he had gotten it, and he might have been better prepared for his frustrating encounters with his girlfriends (present and possible future), his dad, the creator of an unintentionally hilarious performance art piece, and some drunken toughs, among others. As it is, he is "a victim of inertia," says Washington Post reviewer Stephanie Merry, a young man who has so far chucked his opportunities into an ocean of cool. Jan Ole Gerster's debut film, starring Tom Schilling as Niko (originally titled Oh, Boy), has created a likable if drifting protagonist and given him situations punctuated with absurd humor. You want Niko to pull himself together and for the sparks of empathy we see to flame into action. One of those flames occurs near the end of the film, when he hears a rambling, drunken tale that calls forth thoughts of people who really had it bad. Great musical score by Cherilyn MacNeil and The Major Minors.

Whilst the nouvelle vague phenomenon continues in NY, it's seems Berlin, and Jan Ole Gerster actually has something to say.

At times comedic, at times serious, the writing is wonderfully wry and reminiscent of Woody Allen's darker moments. The tension between the black comedy and the underlying backdrop of Berlin's inescapable history is a knife edge Jan treads with the delicacy of a master.

Berlin looks fantastic in black and white, and the effortlessly understated cinematography and precise editing mean this film deserves all the hype that Frances Ha is getting and more.

Refreshing, and fresh this is an incredibly accomplished thesis film. And trust me, you can live without the trailer.

There is a theme in the movie and I'm not talking about the growing up part. I'm talking about the part where the lead character has to make decisions. Which he is unable too. You could argue, that is part of growing up, but it's just a theme that runs through many people and will touch a nerve.

Of course the one thing our lead character wants, he doesn't get. There is always an obstacle, something that will not let him get it. For some that might feel symbolic (and the resolution this has or hasn't at the end of the movie might feel that way too), but that depends on how you view things. And that is something that has been done clever by the filmmaker here. Shooting in black and white is an art choice, but I feel it works for the general feeling of the movie

"Oh Boy" is a special movie and a very German one too. We follow the protagonist Niko Fischer, played by a superb Tom Schilling, through an entire day in vernal Berlin. This day is filled with several episodes in which director Jan-Ole Gerster manages to portrait the various aspects of life in modern Berlin - whether its the Kafkaesque bureaucracy one has to deal with on a daily basis or the never-ending struggle to find normality in the midst of hipsterdom and self-proclaimed avantgarde attitude which makes Berlin so popular amongst party people all over the world.

What is more, Gerster even succeeds to weave Germany's grim past into the story-line by reminding the viewer every now and then how pointless and redundant many aspects of our lives are in comparison with the unatoned horrors committed by Germans on their own turf and all over Europe.

Niko Fischer can be seen as the conscience of those of us who cannot help but deal with what it means to live in Germany and be a German on a daily basis. It might be even difficult to understand the movie in its wholeness for a foreigner as it is with literature by Hesse or Kafka, authors that largely contributed to this piece by making hilarious absurdity and tragedy confluent. The club toilet scene with Niko's schoolmate is key here and has almost Freudian dimensions.

Anyhow, I highly recommend watching this film, last but not least because I tremendously identify with it.

I did not expect to laugh. Germans aren't famousd for their sense of humour but I could not help laughing out loud a few times. Some scenes were so cringy it turned out to be the only appropriate response.

Nothing really happens during the movie : the main protagonist just goes on to live his meaningless life and interacts with a few broken people. Yet the sountrack, the script and the acting make for a fun and light drama if such a thing is possible.

So much better than « Oslo 31 août » even though both movies could be summed up in the same way: 24 hours in the life of a priviledged young man who wanders in a capital city, and whose existence got sidetracked a few years ago.

Despite these similarities, and despite the fact that the Norwegian version is melodramatic, the German one turns out to be more realistic and even more profound. Niko is more relatable and likable while Anders wallows in self-pity and selfishness.

Jan Ole Gerster is still relatively unknown, a director who wrote and directed so far his greatest success. (A Coffee and Berlin, 2012) is a surprising tragi-comedy. Niko Fischer played by Schilling, who interrupted his studies and is trying to find himself in Berlin. The movie reflects the play of colors, through a black and white melancholy in the backdoors of Berlin, which brings a big city atmosphere. How quickly can someone get lost in the extent of a city? I Might emphasize extremely but it is a well-written story, with a crunchy plot, which is both dynamic and interesting. As far the idea of broken glass, leaves the feeling of hopelessness and disconnection. It is to focus on its central importance. I must mention the editing, sometimes it is dysfunctional in transition, so the story becomes a little bit stiff.

The main actor Schilling, offers extremely good emotional articulation, he has a strong repertoar, and brings a lot to the movie. There is a spectacle or a slow-burning rhythm that you feel in this flick. Almost a kind of sophisticated intelligent elegance.

When something is dying, there is born something new. Are we really all alone on this planet, or is it alOne? The ultimate truth lies within us. Stunning black and white tragicomedy with the addition of old school German actors, offers an exceptional journey, true the psyche of a young man...trying. Worth a sneak peak.

Just saw this movie, and still struggling to understand what it is about really, so for me its mostly about a certain generation of people in a certain city. These guys, born in the 80s, grew up in when new German mentality is being formed, Germany that is normal and yet still struggling with its past. The past is the nazism and collective guilt, that is receding, yet has its imprint on the people. the new is the normality - a society where kids of rich parents can afford not to work and just wonder around city while enjoying simple pleasures of sex/drugs and sarcasm. Where kids are still bullying the fatties (without making connections with Nazis bullying their victims). Where ridiculous films about important things in life are being shot. The soundtrack is echoing the jazz era's swing (lindy hop and electoswing are very popular among that generation of euros), the black/white style with a lot of closeups reminds of the era too (and of some other movies). There is a bit of a 'funny' line in the movie that allows for some hope: the inability to get a cup of coffee during the unlucky day and a cup available during final shop, at the dawn of the next day.

All in all, the film is very reminiscent of "Oslo, august 31st". Both follow a youthful character for a day as he wonders the city, visits with friends, registers surroundings. Both finish at the dawn of the next day. In Oslo, the protagonist is in his mid 30s, here in late 20s. But Oslo has more purpose, a story, sense etc. Yet, Oslo might not be a true 'postcard' to the City in the 00s while "Oh Boy" is to Berlin in the 00s. The sense of tragedy and extreme outcomes of the 20-40s that is in the basis of the screenplay for Oslo, is simply not there for the 90-00's, the result is a similar in atmosphere and structure, yet a very different in a meaning (or lack of it) film.

Another thing i wanted to note, that the difference in the stories' outcomes is also reflected throughout the films in how characters relate to the world. In Oslo, the protagonist seems to be completely outside of the world of the others. In Oh Boy, though protagonist talks about this feeling of being a stranger, he, in fact, is very connected to the world, in every scene, you see the character involving himself with the fellow denizens of the city (whether learning from an old German in a bar, escaping a robbery, drinking with a depressed neighbor or ... etc)...

I also felt the film was a bit longish, and a bit lacking in coherent story, and somewhat full of quotations, so 7/10 is the highest I would give, maybe even 6 :)

As a German living abroad for the past 12 years, it's been a surprising pleasure to see, back in Berlin, this little jewel of a movie. Step by step the young guy's everyday-life situations pull you in, develop a light but melancholic atmosphere in which great acting, a pensive and funny script, music that reminds the best of Miles Davis and awesome black-and-white camera-work form a wonderful whole of a movie. If you see, towards the end, average shots of Berlin turned into looking poetic… you know the film has found its tone just on the right note.

Beautiful - I hope this (first!) film didn't only accidentally turn out so well. You want to wish the director, all actors and his crew the very best !

"On the one hand, Gerster is irrefutably remarkable to condense a gallimaufry of quiddities, that suffuse the contemporary milieu into its slender running time, but on the other hand, some of his choices are too stereotyped, like the proverbial understanding that Germans are built without funny bones, even for a performance inside a black-box theater, "funny" still is an insulting word to a supposedly avant-garde mind, also, the sex dynamism between Niko and Julika (Kempter), leaves a bitter taste in the mouth, the portrayal of a girl using sexual appeal as her go-to criterion of self-actualization is myopic, not to mention, minutes ago, she is the one who just valiantly confronts three cads without batting an eyelid, she should have been wiser, so should be the one who authors that scenario."

read the full review on my blog: cinema omnivore, thanks

Jan-Ole Gerster's "Oh, Boy," which is called in America, "A Coffee in Berlin," is one of the most gorgeously cinematographed or filmed movies of all time, the stills from which could be framed separately as photo-masterpieces, one after another -- in the hundreds if not thousands of them -- and then displayed in a museum, simply as a succession of photographic masterpieces; but this is instead a motion picture, in which, additionally, the script, acting, casting, musical score, and, of course (doesn't it naturally follow from all those) the direction, are literally breathtaking, and the total impression from that profusion of artistic brilliance left this viewer deeply moved. It's a film I shall want to see many times, because it's the type of film that I'll probably understand the more and experience the more deeply with each successive viewing of it, and there aren't many movies like that. If you want directorial comparisons, the movies of the great director Guy Madden, and the two great movies from David Lynch, can be compared with this one, for their haunting effects and deeply offbeat and surprising turns of script and for their images which (like this one's) burn themselves into one's consciousness at a deep enough level to become a permanent feature of a receptive viewer's being.

Good choice of b/w to show the lights of the city and remind of the famous 20s. A boy lost in this city, and also in his own life. Many typical Berlin peculiarities come into play, sometimes a bit constructed, but also funny at times. Nice melancholic thoughtful end, with some optimism.

Interesting film about a day or two into the life of a lost young man. Sounds boring? No it isn't. There is humor, tragedy, love and drama in those 24 hours. Tom Schilling plays the part with a hint of melancholy which is fascinating to watch. Lots of small supporting parts in the film as well, by some famous german actors. The film is presented in a very cool black and white with a fantastic Jazz-like soundtrack. Try watching it. It's slow and at the beginnen strange but definitely worth it.

It was like, came five years ago. One of the most unexpected films from a debutant director to succeed commercially, as well as to grab as many as the German Academy Awards. A 'black and white' and a short film than an average runtime. A small budget flick that the entire story revolved within a day. These are the interesting basic things about it you must know. Then going into the film, it's really feels good kind. But not everything in the story was pleasant. I mean, there's nothing serious, but a man who faces difficulties.

It was about a young, carefree man. Dropped out of law practice and having no job or a girlfriend, he spends his days as how it turns out itself. He has one good friend, nut not an ideal one. And of course annoying father who always advises him to be normal like everybody else. But this particular day is not ordinary. After saying goodbye to a girl he spent the night with, all he wanted was a cup of fresh coffee. Unfortunately, he did not get it.

So the rest of the day follows, as many unexpected events begin to unfold. One of it was encountering an old schoolmate. She invites him to her play. Meanwhile, his date with dad and later in the day ending up in a pub where he meets an old man who narrates his life experience. Just after that, the story takes a simple twist as the day too is coming to an end, the end credit started to roll up.

-xX] The only thing I can do, is do nothing for you anymore. [Xx-

I like modern 'black and white' films. Actually 99 per cent of those films I've seen were like masterpieces or almost. They simply don't make one, unless what they wanted to narrate on the screen is something special. It really captured the depth. The depth of the character. When it all began, we know zero about the lead character, but very soon everything changes, only heading forward. And when it reached the other end, you would feel you have known him long enough. One of the reasons could be your life, having similarity with the film. Most of the people have passed that stage in their 20s, like either being rebellious or unemployed/carefree.

It was pretty much like one of those films you have seen that centres on one particular thing. Because of a small timing indifference or a mistake can lead a slight deviation in the path and then a new adventure begins. That's what in my language we say, 'in a cycle gap'. Bicycles might be big, but its path/track is so thin. In this, it was all about a cup of coffee. If he had got it when he first desired for it, the thing would have been different. Very neatly written screenplay. No doubt why it won the national award for that.

Towards the end, I felt slowness, like it got tired of everything. But that's perfect, because since this tale is about a single day, that's how people as well feel in their long day. Overall, it worked out for me and so for most those who saw it. I might be late, but watched it, did not I! If you have seen it, that's great, but if not, then I suggest you to try it. Quite fun to watch. No serious laughs, but in a couple of scenes it delivered as it meant. Felt like I've watched a German film after a long time, but I've picked the right one.

7/10

A Cup of Pleasure in film making that scored high with me because of its thoughtful humor, wonderful acting, crisp black and white film work, and commentary on the problems of young men fitting into a modern world. No slapstick comedy here. No raunchy jokes like we get in films made and about young people. The comedy is underplayed. The dialog is sharp and meaningful. I read that this is the film makers first effort. That in itself is amazing since the movie shows such maturity in the craft. I hope that there will be more films coming from the people who made this one. Who said that the Germans don't have a sense of humor. I thing that changing the title from Oh Boy to A Cup of Coffee in Berlin was a good move.

This is one long day in the life of the main character, a young man without destination and purpose as we soon learn. Basically it is running from his problems or making up his mind. He can't and it almost seems as if his fruitless attempt of getting a coffee is symbolizing that problem. Throughout the day he is caught up with personal history and some history of Berlin.

Tom Schilling gives a solid performance here, starring as Niko Fischer, a young man, living in Berlin, who's lost his way in life and is currently broke, unemployed, has no serious relationships, and is still taking tuition money from his father without telling him he dropped out of law school some 2 years before.

The satirical film will capture one day in Niko's life, as he encounters all kinds of bizarre situations, I imagine trying to be in the vein of Scorsese's "After Hours". He'll also meet all kinds of mostly mean-spirited and malevolent people, but one thing he'll have a heck of a time finding is a cup of coffee.

Although I was intrigued enough to want to know how it would all turn out, the biggest problem for me was that I felt the filmmaker Jan Ole Gerster (making his feature film debut) went over-the-top with the mean-spiritedness and thus I couldn't find much entertainment here. I imagine we all meet these obnoxious jerks at times in our lives, so I would have much preferred more of a mixture of oddness and quirkiness rather than constant malevolence, but that's me.

Would I have preferred this movie in colour? I pondered that question because I have never been to Berlin. It might have been interesting to see the locale in colour. But I think that it would have detracted, distracted me from the powerful message behind the movie.

It is more than about finding a 'good cheap cuppa coffee' in Berlin. It becomes, in the end, a midair suspension of the question: if Berlin should ever get over its stigma for falling into the violence that was forcibly ended in 1945. And what all of this means to the rest of the world when, in reality, a boy in Berlin is no different than a boy in Toronto, Canada or New York, New York.

Art is the ability to challenge the viewer as to the meaning behind the film. Good art leads to various interpretations by various people. I ended up feeling momentarily empty and puzzled about this movie. The main character leads us through an array of the moral questions that can happen in the span of one day, questions which lead us to... no clear answers.

And that fact makes this film good art... another borrowed Library DVD that I hope to buy in years to come, to add to the 'arty' collection of compelling movies.