The protagonist of the film is European writer (Stellan Skarsgård), who comes to New York for a few days to help prepare for the premiere of "Don Juan" in the Brooklyn theater. On the spot will have to deal not only with work but also with unfinished relationships with the past three women. What will happen on stage will be so interwoven with his private life.

(Film.interia.pl)

In Schlöndorff's "Return to Montauk" - that you can not believe what the writer says. Max (Stellan Skarsgård) proves this from the beginning: he says beautifully, anecdotes from the past change almost into narratively thoughtful ballads. He comes from Berlin to New York to promote a novel and likes to pretend to be open to readers. But in fact, nobody can open before anyone.

Volker Schlöndorff: About a writer who surrounds a cocoon of fiction and myth, it loses the key to understanding real life - and real people.

"Montauk," a friend of Max Frisch's director (Schlöndorff, 16 years ago adapted his screenplay for his novel "Homo Faber"), an autobiographical account of a writer with his women, a lover, but primarily a male-female game that was permanent its a habit.

"In life, the most important things are things that have been done and that can not be fixed, but also those that can be done, but today is too late," says filmmaker Max, quoting his father's words uttered before his death. In New York, the writer wants to fix a bit of the past and try a second chance - it was here a few years ago for a short time with a woman he never forgot.

Rebecca (Nina Hoss) also remembers Max ("I never threw him out of my head"), although she is living elsewhere - a respected lawyer in a prestigious law firm. However, he would agree with his old acquaintances to spend time together - as in Frisch's novel - time to a two-hour drive from New York's Long Island. Mainly to understand that they are only a myth for themselves. "I met the spirit," Max says at the end.

Skarsgård seduces the audience with his light narrative narrative, Nina Hoss in the key monologue reveals itself, comes out of the corporate shell. (...)

Pawel T. Felis - Gazeta Wyborcza