Synopsis
In 1999, a woman's life is forever changed after she survives a car crash with two bank robbers, who enlist her help to take the money to a drop in Paris. On the way, she runs into another fugitive from the law — an American doctor on the run from the CIA. They want to confiscate his father's invention – a device which allows anyone to record their dreams and visions.
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Cast
- William HurtSam Farber, alias Trevor McPhee
- Solveig DommartinClaire Tourneur
- Sam NeillEugene Fitzpatrick
- Max von SydowHenry Farber
- Rüdiger VoglerPhillip Winter
- Ernie DingoBurt
- Jeanne MoreauEdith Farber
- Chick OrtegaChico Remy
- Elena PrudnikovaKrasikova
- Eddy MitchellRaymond Monnet
Recommendations
- 100
The Guardian
The scenes of artistic, scientific and communal triumph were significant. The isolated, solipsistic anger of each character, lost in their own identity loop, seemed like a perfect analogy for the conflicts in eastern Europe in the mid-1990s. - 88
Washington Post
Wenders weaves all his thematic and narrative threads together into a coherent, philosophical whole. Even with the apocalypse, though, his view isn't despairing. A new direction, a new beginning emerges out of the ashes of the old, image-overloaded world, and with it, a sort of muted optimism. - 83
Entertainment Weekly
Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith). - 80
Village Voice
To watch the 158-minute 1991 theatrical cut of Until the End of the World, Wim Wenders’s globetrotting, apocalyptic, pop-rock-saturated sci-fi odyssey, is to zone in and out of a meandering, wistful dream. - 60
The New York Times
The longer it gets, the loopier it gets. [19 Jan 1992, p.13] - 50
Austin Chronicle
What starts out promisingly enough continues considerably beyond the end of the world and wears out even the most determined Wenders fan. - 50
Chicago Sun-Times
The movie itself, unfortunately, is not as compelling as the tempest that went into its making. - 50
TV Guide Magazine
Once the film gets bogged down in the outback, however, it comes to a virtual stop. Wenders seems to be saying something pretty banal about the emotional emptiness of the recorded image as opposed to the "real thing." If that's the point, why make a film at all?
