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Lonely in Dreams

Süddeutsche Zeitung, Feuilleton, 23.02.2006 Review by Hans Schifferle


“24/7 The Passion of Life”, an S&M-Film from Roland Reber


It has become a rare species, filmmaker who produce their films totally independent from TV and film funding. The makers of “24/7” belong to it. The director is Roland Reber, an experienced theatre maker, his films like “The Room” have been shown successfully at foreign festivals. Reber shared the script and camera work with the dainty Mira Gittner, who plays the dominatrix Maria impressively in “24/7”. The trio is completed by the glamorous Marina Anna Eich, who once started her career at the Oberammergauer Passionsspiele. She now plays Eve, who is introduced into the wonderland of dark sexuality. In addition she is responsible for the co-production and the publicity. This publicity, like during the International Filmfestival in Hof, remind of Corman or William Castle.


“24/7 the Passion of Life” is a handmade film, which investigates a spectacular subject like sadomasochism in a mixture of trash and high art and exploits it in a positive sense.


The blond girl is called Eve, as the daughter of an influential hotelier she is some kind of a Bavarian Paris Hilton. Coincidentally she meets the Dominatrix Maria, on who’s card is written: “I’m the sin that you’ll never have the courage to indulge in.” Eve feels attracted by this other world of sexuality, by Maria’s Studio, this cool workshop of mysterious desires, the real opposite to the wellness-rooms at the hotel. She is especially fascinated by the melancholic intelligence of Maria, who also works as a myth researcher and understands her detailed sessions with the clients also as a therapy. Before Eve is introduced into the high theatrical art of S&M she tries out the rather touching swingers scene.


Fundamentally “24/7”, with its rituals of longing, is a complex study of Loneliness. “Lonely in my dreams, lonely in love with you” are the words of the soundtrack. This is the trip to salvation, the spiritual side of “24/7”: to find, at least for moments, a Love beyond all love prisons. Roland Reber’s film is an S&M opera with absurd comic moments and melodramatic sequences, a wild mélange of poetry and obscenities, in which the enema with red wine stands beside the quoting of Hesse and the dominatrix’ Studio is turned into something in between hobby room and cathedral. In the showdown, located somewhere between Jess Franco and Peter Greenaway, the lighting and cadration get clear: they are like a “vaginal” window for a new, a newly born perspective.


(source: Süddeutsche Zeitung, Feuilleton, 23.02.2006)





Light into the realm of shadows

Abendzeitung Kultur , 16.02.2006, review by Adrian Prechtel

(Film thermometer: 20 points out of 30)


“24/7 THE PASSION OF LIFE” wants to take the S&M and swingers scene out of the dirty corner


“Shame is only fear of yourself”, says the dominatrix Maria (Mira Gittner) to the young Eve, who goes on a sexual trip of salvation, into the depth of the S&M scene and swingers clubs. But with his stories about these well frequented taboo places, “24/7 The Passion of Life” liberates the milieu from dirt, mess and  the prejudice of dark violence. The film rather tries to abolish the border between bourgeoisie and so-called perversion: both are only two sides of the same coin – and the sexually excessive one is perhaps the less neurotic, healthier one.

“Passion of Life” from Roland Reber is a fictional movie. But it was shot at original sites, partly with members of the scene.

But with its strong stylization, the film is far away from being a documentary. Accompanied by music from Mozart’s Requiem and catholic church songs, as well as pieta and religious associations, there are poetic, mysterious pictures that are solemn. Also bizarre scenes, fit in there, like the ones of a theology student who can only reconcile with God and his own sexual urges through a blasphemous Christ-Crucifixion Performance. Besides these highly esthetical stylized scenes, the background story is set sharply realistic: Eve, heiress of a Hotel, in her father-daughter conflict, the shock when her visits to the scene get known, and the swingers club, with its petty bourgeois dreadfulness, the rustic interior, country music and the moustache-thanks-dear types. The film has weaknesses here, because dialogues and performance often appear artificial and clumsy. Also the liberal educational message is pronounced pithily: the dominatrix – in the film also sociology student – speaks exaggerated phrases ex cathedra.

But after all “24/7 The Passion of Life” has a great amount of sincerity. And never mind if one shares the philosophy of liberation: it is an exceptional film, and an independent film interesting in its aesthetic and contents. And perhaps in each Dr. Jekyll of us, there is a hidden sexual Mr. Hyde.

(source: Abendzeitung - 16. 2.2006)


Director Roland Reber managed to deal with a taboo subject in a lyrical and poetic way. Mainly the vivid pictures, combined with the exceptional music make “24/7 THE PASSION OF LIFE” an intellectual work of art. Because the activities in the Dominatrix Studio are set into a religious context, the Christian church is not expected to give its blessing. But that is not the point of the director. With his work he calls for more tolerance and wants to do away with the false double morals in our society. “Everyone of us for sure has a person in between his circle of acquaintances who belongs to the S&M scene, but doesn’t know it”. The shootings took place in a real S&M Studio. Besides the actors, also a few amateur actors from the S&M and swingers scene participated, which makes the whole even more authentic.

Anja Boromandi/Ricore Text


"24/7 The Passion Of Life" is a powerful affirmation of life that explores with uncompromising reality the mendacity and self-deception of our lives and the cultures and religions that would have all of us behave robot-like in the expression and fulfilment of our most private sexual desires.
Watch this important work with your heart and mind wide open and you will see your innermost longings and sensual thoughts reflected brilliantly by Marina Anna Eich, Mira Gittner, Christoph Baumann, Michael Burkhardt, Reinhard Wendt and the others of this splendid cast. …That is movie making at its finest.
(Gordon Weaver, film publicist  - worked among others as a manager for Paramount in Marketing und Public Relations)



The film tries to give an honest insight into the dark sides of the German soul, without brushing it aside ironically. The bodies turn into a hoard for painful memories. I especially like the role of Elfriede with her memories of captivity, because of the discernible relation between the helplessly endured war trauma, which still floating about, and the ongoing penitence as house slave of an S&M Studio.


(Dr. Andreas Rost, department of culture, city of Munich)

Blickpunkt Film

Excerpt from Blickpunkt: Film 43/05:

Blickpunkt: Film: „One hears, that Roland Reber’s 24/7 THE PASSION OF LIFE

is a porn, a skandal film”.

Heinz Badewitz: „Who says this! It is no porn or bed wriggling, but some sort of a

Russ Meyer film, very direct and radical and very different from Michael Winterbottoms Nine Songs for example.“

(Margret Köhler interviewing Heinz Badewitz, source: Blickpunkt Film 43/05)


Review by Alina Bacher,  (Rating: 7 points out of 10 )

Half-naked beauties stretching topless in the sun or well shaped dream men holding their chests into the camera – advertising can no longer be imagined without sex. “Sex-sells” – not only professional advertisers know that. But not every kind of sexuality is suited for marketing. “Vanilla Sex Sells” seems to be the maxim.  But there is far more to tell about the subject of sexuality. The lack of Latex, and bondage are mostly banished from every day life and categorised as “perversion”. But what is perverted? Who decides how one is allowed to live his sexuality? Do obsolete moral concepts impede that we live the absolute sexual liberty? A delicate subject, that is treated by the erotic-drama “24/7 the Passion of Life”. With poetic pictures the film goes on a provocative voyage of discovery through the “other” sexuality, that public prefers to hush up and taboo.


At first: even if the description of „24/7 The Passion of Life“ sounds like the one of a well wraped hardcore porn, this film has as much to do with cheap “banging-pornography” as a washing machine with a flowerbed – strictly nothing. The film may be set in the S&M scene and therefore pictures of people in latex slips or leather garter belts are nothing rare, but who expects to see nothing but sex games on the screen is wrong. Director Roland Reber sets on poetic pictures and with the camera, gets in search of the “sexual truth”. What is perverted?

Who decides about what is “normal” in German bedrooms? Why does our society openly speak about vanilla sex but closes its mind to everything else? Questions that, characterize the film but which it leaves up to the viewer. A film that incites to reflection.


Evidently hardcore S&M practices are not everyone’s cup of tea. Some scene are bordering the limits of good taste, but Roland Reber succeeds in this difficult balancing act and the film never drifts off into the “dirty”. The sex scenes in the film are caught wonderfully poetic by the camera and produced  in a way which make even so very strange practices seem familiar and understandable. Not only sexuality and eroticism are focused, also religion is being dealt with. One or the other theology student may get icy shivers there, because Roland Reber judges religion harshly. When Dominik produces himself as Jesus an his Dominatrix has a word with him as “Satan”, or when Lady Maria hears the confession of her subordinates -  religiousness changes the natural relationship of the human to his sexuality. Reber doesn’t shun any provocation and deals with aspects of our society that are often preferred to be swept under the carpet. But sometimes one gets the impression, that the film tries desperately to provoke in every scene. Separation of sex and love, that’s all well and good, but to show all “vanilla sex maker” as conservative people who do not dare anything in life, will hardly be welcomed with opened arms.


Even if the subject is not simple and in everyday life often overshadowed by prejudice and clichés, the film catches up the special atmosphere of the S&M scene, without appearing stereotyped. This is mainly because of the good research work of the team. Main actress Mira Gittner for example, stood in for a few nights in an S&M Studio as guest-dominatrix, before venturing into the role. Mira Gittner about this: ”For me this is a natural process to prepare a role. If I played a doctor, I would also try to look at the life in a surgery for a few days. As I did not get in touch with the S&M scene before, I wanted to make my personal experiences.”

The acting ensemble is set together partly out of professionals and partly out of amateurs.

Mira Gittner and Marina Anna Eich are brilliant in the leading roles. Their intense acting is one of the reasons why “24/7 The Passion of Life” never looses its provoking poetry.

In the role of the “maid Elfriede”, Reinhard Wendt cuts a very good figure. The 80-year old plays himself, because Wendt approached the director Roland Reber during the shooting at the S&M Studio and asked whether he could also play a part in the film. After long conversations with “Elfriede”, Mira Gittner and Roland Reber developed the role in the film. Another amateur actor is Michael Burkhardt; he tries his hand with the role of the “travel guide of lust” Mike. Unfortunately one has to say, that the difference between professional actors and amateurs gets very clear here, compared to the rest of the cast his performance comes off poor. "24/7- The Passion of Life" is a true independent film which will polarize because of its provoking subject. A poetic odyssey through Lust and Passion, between perversion and convention. In any case a film that is not ordinary, that will split the audience and throw the film world into a turmoil.

(source:  HYPERLINK "http://www.filmstarts.de" www.filmstarts.de)

the "thelemic" answer

The „thelemic“ answer to Gibsons „Passion of Christ“

A broadside to the conditioning of society


By Federico Tolli, Bishop of the free catholic church of Wiesbaden, Theologian


24/7 THE PASSION OF LIFE, a film about society’s dealing with sexuality, about religion, moral and double-morals? A question mark, that the author of these lines consciously sets in this place. Too much in a hurry the known art of reviewing tries to give the film a simple stamp. A “label” of the protest for the scene of swingers, bondage and S&M activists, that threatens to dissolve the simple-minded borders between petty bourgeoisie and perversion. While both worlds do only stand for two sides of one same coin. Sadomasochism as a natural part of the sexual spectrum of a western shaped culture, between consuming and the longing for healing and salvation. The Dominatrix “Lady Maria” in this film notices the therapeutic relation between Religion and S&M as a consequent psychological defence mechanism: “…if you do not accept and live this part of you, then it will haunt you, day by day, and that would make you sick. Sick is not what you do. Perhaps the feelings of guilt, that were drummed into you, they might be sick.”



That the scene of swingers and sadomasochists in the film are shown authentically, is not only due to the good research work of the film team, but also to the simple fact that “24/7 THE PASSION OF LIFE” is the first German movie that does not try to give the profession of the dominatrix the cliché of a fallen and criminalized “Lilith”. The film gives much deeper answers than societal and moral criticism. The bonds made of religion, standardization constraint and double-morals, that society sets upon Lust, are on the other hand the same bonds that, in a materialized form, grant to the S&M pupil moments of Lust through liberation of pain. The essence of this exceptional film is being reduced, when an artificial duality is used as an instrument for criticism. In a society shaped by a religion, which postulates liberation through sacrifice and the pain belonging to it, 24/7 THE PASSION OF LIFE gets a therapeutic dimension.



The trinity of human existence, body, mind and soul is dissolved in the artificial trias of search for identity, sexuality and religiousness. The protagonists find themselves no longer in the conventional practice of religion, but through religious-sexual rituals. But they do not find ways out of the loneliness, nor salvation from the submission of sin in sex. But more in the last insight of acceptance of life, despite all search for meaning, deceptions and breaks.



It is about more, than the outward paradigms, that find expression as set of rules in culture and religion. The film rather shows that the core of these paradigms is threatened. There is no place to be found, where the human in his “being-so” finds admission, acceptance and Love. The apparently dark sides of the human, symbolized here through the sexual subculture, must be held in arcane, to make the lack of emotions bearable to the outward.


It is about spirituality. About the attempt of the human to find healing and happiness in his imperfection.


In Christianity the perfection of God, which the human is seeking for, is reached through spiritualization and idealization of asceticism. This lead to an equalization of sexuality, reproduction and mortality, which enabled the healing, contrary to the pure spirit and the espousal with God. Sexuality became the “impure” form of reproduction assigned to the female. Repressed into the torture chambers of Inquisition, which find their smooth, yet more harmless continuation in the S&M Studios of modernity. Christian rebirth through baptism, not the procreation, represents according to the moralizing doctrine, the best security for the future, that contributed in its clear ambiguity to a culture of death. 24/7 THE PASSION OF LIFE finds veritable lasting continuity through the equality of the spiritual birth, based upon spiritual intercourse, and the awareness of the physicality, based upon physical intercourse. Only the combination of both of them, take seriously the human in its entireness and pushes towards healing. Healing which the human is deprived of in our concrete society. The scene of sadomasochists and swingers tries, quasi like Prometheus, to save this “divine light “ of accepted Being into their subculture.


The Prometheus of this work is the sheltered hotelier’s daughter Eve. Marina Anna Eich, who once started her career at the Passion Plays of Oberammergau, performs convincingly the daughter out of a bourgeois milieu, who meets the dominatrix “Lady Maria” through a motorcycle accident, and goes on search for her erotic identity with Maria’s help. Mira Gittner is brilliant as the Dominatrix “Lady Maria”. Both let their experiences and longings with the Christian religion swing in a cacophony of the psyche. Longing to be understood, that is expressed in aesthetically stylized pictures of religious scenes. At the beginning of the film, the actors in posture of the holy family. Also fitting in, the bizarre scene, like the one of a theology student, who can only reconcile with God and his own sexual urges through a Christ-Crucifixion Performance. But the film doesn’t provoke with the blasphemy of an infantile defense reaction against the constrictive violence of the Christian moral doctrine. Instead it reveals the intricate relation between our religion and a pain-lust sexuality.


Like in Mel Gibsons “Passion of Christ” the striving, suffering and death of the human is dealt with. Here the final ends up in a moment of redemption through pain.


In “vaginal windows” the new, reborn perspective of “Self-creation” as “Deus ex Machina" of thelemic philosophy is taken up at the end of the film. An attempt of reconciliation of Heaven and Hell, which is expressed through the scene where Eve, as a naked angel, arises from the vagina of the “eternal mother”.



24/7 THE PASSION OF LIFE felicitous broadside of voluntaristic criticism, that shows the aberration of generally accepted conditioning.


There the theological message of the film becomes evident. The post-modern human with his inner conflict finds healing through the acceptance and awareness of his shadows. The standardized religion seems to fail here. So the human looks for his spirituality in other places. This theological quality can be accorded to the film rightfully: redemption can only be achieved entirely, and sexuality simply belongs to the entire human being. The question about God is raised subtly. Not so much the outward God, with his condemning power, who’s perversion was only made possible by the birth of sexual subcultures, but rather the healing God, who can also be found within the human.


Touchingly Reber’s film shows the search for salvation and sanctification with absurd comic scenes and melodramatic sequences. The confession of a theology student to the Dominatrix, the identification of the Dominatrix with Maria, and with the first mother of all Being, as well as the post-religious finding of meaning of the hotelier’s daughter Eve who is shaped by the “wellness-culture” – all this leads in a world of mental self-creation through overcoming societal conditioning.


There is also the crucial point of criticism. A divine self-creation without God? A Matrix without model? This can and will not be possible for theology. Healing is not possible throughout one self. And this is also shown in the film.


(Federico Tolli, Bischof der Freikatholischen Kirche zu Wiesbaden. Theologian)

zu Wiesbaden, Theologe)



Review by Thomas Engel


Through a motorcycle accident, the hotelier’s daughter Eve coincidentally meets the „sociologist“ Magdalena, who works as the dominatrix „Lady Maria“ in an S&M Studio. The two women become friends. Magdalena takes Eve with her to her S&M Studio. To Eve, this opens up a new, until then hidden world. Eve starts to get a different relationship to sexuality, which was until then marked by the common moral norms. She visits, at first out of curiosity, swingers clubs, striptease bars and similar establishments.


Now Eve woke up, so to say, from her sexual sleep. She now separates Love and Sex – Mike , who falls in Love with her, repudiates her. Now she wants to experience what pure Lust is. She knows that Lust and Sex can also be joined by pain and shame. Things get deeper. How much tragedy was connected to the moral norms prevailing here! Who put them up? Christianity? Which are the historical links?


All this is raised explicitly. Magdalena (Lady Maria) is the main theoretician. The theories and depictions are surrounded by spiritual music (Laudate dominum, Mozart’s Requiem, Ave Verum, Messias, Ave Maria, Schubert’s church songs). Suited? Question of taste. It is also surrounded by poetry. There are some very lyrical and very beautiful sequences. Far more problematic are the religious, directly clerical references. They lack the necessary clarity and depth. Here the fantasy of the pictures abandons the theory and leaves it behind. Not few will rightly speak of blasphemy.


The two leading actresses are doing good work. But cinematically and sexually there are no boundaries. Many taboos are broken – most strongly by showing a “pervert” at the cross.


Wonderful is the camera work. Many light effects are first rate. And altogether the film provides hot subjects to discussion, despite the uncommon, from time to time even dangerous and voyeuristic grounds it moves on. Even in art house theatres.

(source: www.programmkino.de)

Münchner Merkur - Good citizens, sex and melancholy

Münchner Merkur, Kultur – 16.02.06, Review by Zoran Gojic

Rated: “Worth Seeing”


In the hobby room

Good citizens, sex and melancholy

Afterwards one is some kind of helpless, only one thing is for sure: this film differs from all other German productions in the nearer past. Director Roland Reber tells an unconventional fable from the hobby room of this country. There people live up to their desires, longings and passion. Dramaturgic peg to hang on is the encounter of Eve (Marina Anna Eich) and part-time dominatrix Magdalena (Mira Gittner). Eve starts, with proficient direction, to explore her own sensuality and sexuality. She discovers to her own amazement, that after work many good fellows look for the sense of their existence in excessively lived physical contacts.


Shot independently, without any resources from film funding, “24/7 The Passion of Life” does not fulfil neither the formal nor technical criteria of a cinema movie. And so the scenes in the S&M Studio and swingers club appear sterile, wooden and despite all liberality inhibited. What is so fascinating about it is, that one gets the suspicion that it is in fact the way it is. Average citizens who meet to do something despicable – a bowling club without underwear so to say. Reber has the courage to break the story with lyrical interludes, in which the protagonists are philosophizing about their action and motivation. There, even humour appears. But the basic tenor is melancholic. The search for real closeness, that always remains unsuccessful, the helpless hope to be able to separate Love and Sexuality, the restless escape into new sufferings, in order to forget the old ones – Reber caught this up in a good way, even if his reflections are not always as deep as they pretend to be.


A film that is worth seeing, which one has not to like, but  which incites to reflection. There are not a great lot of films from which you could honestly say so.

Worth seeing.


Zoran Gojic

(source: Münchner Merkur, 16.2.2006)




Comment to the movie 24/7 Passion of Life

by Alfred Rott, OStR, Dipl. Theologian


The film: a thrilling access to the subject of sexuality, that has always been driving the humans, to a subject that moral keeper – from religious or other ideological origins – occupied and abused again and again, unfortunately successfully, to repress and incapacitate the humans. The film is a (daring) attempt to step against this fear and sin practice, that is floating in the souls (more unconsciously) until today: in an original and refreshing way.


One of the central smart questions of the filmmakers is probably this one: how come, that the wonder-full “thing” sexuality came from bright light into undergrounds.

So the film explores places, into which the repressed lust (and her “perversion”?) has drawn back. In the S&M scene the paradox coincidence of sexual gain of lust and submission = being victim meet. In our tradition this is certainly related to the glorification of the cross (instead of resurrection).

The primeval question about God – also this in central in the film, even if more subtle - and what he is and where he is (perhaps more likely “between the legs” than in a golden tabernacle). They are all sitting in gilded (?) cages, also the rich hotel heiress - and it is her that is leaving it. She persuades with her lust about herself and showing her luxurious body. The viewers in the club enjoy that, also those in the cinema.


Probably in every religion there are ever again streaming through the millenniums, that have praised sexuality in its variety as holy (holy – hole – complete); see the practices of temple prostitution, yes, the even some less concise “sacredness of marriage” of Christian moral theology. If Teilhard de Chardin is right, we are actually living a (new) revolution of love. That dark, retrogressive Powers want to impede this is evident; but these Powers are not where church patriarchs as well as Imams and Muftis want to locate them. (The evil is more likely to be found within those, who exactly know where it is to find.)

The film also made me melancholic. For example the character of „Elfriede“ doesn’t get out of my mind: the elderly man with a war trauma  (he cries while he is telling about it) finds his salvation in the role of the servile maid; I wished for him, that he could have lived a salvation (politically and also sexually: in a “true” abandon, that means an abandon within a relationship to a woman, that is herself also capable to abandoning herself). But: the film shows a life as it probably really is – and gives like this a number of messages, which especially theologians should not be afraid to reflect on. Therefore please promote it in these circles! Where people who are professionally related to salvation (perhaps from death), to Lust and Love (and their prevention), these are for example psychotherapists or other counselors. Possible that religion teachers appraise it – and want to deal with the subject in their high school classes. Also suited as an alternative to bad porn-“education” in the relevant medias (“mediators”), which children and youth (and not only them) like to use.

Congratulations to all participants! And a soon success story as cult movie!


(Alfred Rott, OStR, Dipl. Theologian, Author of. „Das Liebe-Prinzip“/ “The Love principle”)

v. „Das Liebe-Prinzip“)

Shame is only fear from yourself

„Shame is only fear from yourself“ -  „24/7 The Passion of Life“

For cinema and television, S&M usually serves for raising the viewing figures. Not only a few are interested in the subject of S&M or at least the sexy outfits of the actors. And after a few furtive looks and enjoying the nice tingle one can quickly turn up ones nose and demonstrate distance through commonly appropriated and demanded “iiiih” or  “yack”.


„24/7 The Passion of Life“ is the first German cinema movie that shows S&M explicitly without abusing or distorting it. It is about discovering and realizing the very own sexuality and about the omnipresent double-moral in our society. With vivid pictures and texts, the film shows the loneliness of the searching protagonists, moves the viewer and forces to reflect about the own – not only sexual – identity and self-realisation.


On the search of our Self, carefully erected walls, chosen by ourselves or also imposed, that surround our secret fantasies and wishes, have to be pulled down. In the Movie, S&M is shown as one possible way to rediscover and realize these hidden sides. The widely spread use of S&M as an additional and enriching facet of sexuality, is consciously  pushed into the background. In „24/7 The Passion of LifeS&M is the key to the own soul. Although it is not only about S&M in the end, the impressively produced sessions in an S&M-Studio in Munich reflect the intense research and cooperation with the people from the commercial and non-commercial S&M-scene. The director Roland Reber succeeds, thanks to his unconventional and opened way of work, in bringing all participants to an impressive and persuading result.


Sensational is the performance of Mira Gittner. Her meticulous preparation, including an ‘apprenticeship’ in an S&M-Studio as ‘apprentice-dominatrix’, and her acting skill lead to an absolutely persuading and at any time credible performance of the dominatrix “Lady Maria”. Marina Anna Eich’s acting skill in her performance of the hotelier’s daughter Eve, who is in search of her self and her own lust, nearly equals.


A few parts have been added only during the shooting. Particularly “24/7 the Passion of Life” is not to imagine without the best supporting role Elfriede.


„24/7 The Passion of Life“ is a film that touches the viewer. The part of the adult population that is practicing S&M - depending on the scientific study varying between 5-10% - exceptionally will not have to be annoyed about a distorted depiction of S&M, and in face of SAT1, RTL and unfortunately also more and more the public-service TV-stations, this is a blessing. On the other hand S&M people are fortunately not built up as the better people. They are shown as humans who face the search of their identity by living up their fantasies and obsessions.


And consistently „24/7 The Passion of Life“ leaves the viewer with an appeal to a definition of the personal position.


Stirring art house cinema, ambitious without moralizing undertone. Absolutely worth seeing!”


(Robert aka fan, AK SM&Culture in Munich)

'24/7' in the GOA MESSENGER, India