In Maren Ade's Toni
Erdmann, Ines Conradi (Sandra Huller) is a German management consultant in
Bucharest on her way to a position in Singapore where she’ll be working for
Mckinsey. Her father Winfried (Peter Simonischek), a music teacher whose dog
has died, shows up on her doorstep unexpectedly interrupting her big pitch to
an Rumanian oil company. The humor of the movie derives from the juxtaposition
and disconnect between the world of corporate newspeak and authentic human
feeling. Winfried dons a wig and buck teeth and portrays himself to be a life
coach named Toni Erdmann. Life coach is perfect since his character is a parody of the notion of an "as if" personality. In the beginning of the movie he jokes about looking for a
“substitute daughter” but he's the ultimate substitute, at one point posing as
the German ambassador and introducing Ines as his assistant Miss Schnuck. There's an uproarious scene in which Ines invites her colleagues to a birthday party
she's throwing for herself in which she takes off all her clothes and won’t
let anyone in, unless they undress (in terms of the film's treatment of sex, there's, by the way, an uproarious earlier scene where Ines' lover jerks off onto a petit four). Like everything else in the movie, the
farce has its undercurrent of reality, mixed in with a certain tristesse, as
the ploy is a thinly veiled search for an authenticity missing in a world where
terms like "outsourcing" mask the price that’s paid for expediency. If there's a
teleology operant in Ade's weighty farce, it’s expressed by Winfried/Toni when he says “You have to
do this or that and in the meanwhile life is passing by.” The movie is
aphoristic and full of the kind of pregnant pauses that are uncommon for
absurdist comedy. Winfried sets up the philosophical ramifications of the
film’s anarchic brand of comedy at the beginning when he comments “How nice to
do nothing and take a break.” The self effacing remark belies the disruption
and chaos he will bring into his daughter’s life, but it also betokens the
underlying sentimentality of his paternal desires.