The hardships

The hardships

The dispensability of

               Genre: Drama
               Family precariat

A long awaited heart’s desire

  It is one of those incredible stories that you sometimes read in the newspaper: A twelve year old boy hiding his dead father for days in his parents’ apartment. The reason: The mother wants to leave the family and the son is afraid to come to the home. Thus, a substance that meets almost all stereotypes, which one may entertain as well sheltered middle class citizens of those at the margins of society. But no more after this wonderfully sensitive film was the Film Festival in Sao Paulo, the prices for Best Director and Best Actor (André Hennicke). Director Andreas Arnstedt tells the story quite differently than you might fear it after the brief plot summary.

James (Oscar Boekelmann) is among the students who must stay home for school trips, because the parents do not spend the money. The family relationships are, as we now say, is precarious. There is a harsh tone, fist loosely sits and alcohol fueling aggression. But there is – and that is special and beautiful – almost as many affectionate gestures. And you know sometimes a solidarity, as they are found rarely in the middle class.

Much more must be said of Jacob, his parents, Jürgen (Andre Hennicke) and Silke (Steffi Kühnert) and Grandma (Ingeborg Westphal) did not. For the film reveals the details of this family fabric in flashbacks, which one should not prejudge. The elaborate narrative style, of course, carried the tension, but is above all a substantive purpose: who is only on the result, sees the end of this tragedy, seen merely confirms one’s preconceptions. But anyone who is contemplating the process that played out in front, gets a different picture. Namely, the people who are resisting with remarkable strength of the abyss into which they fall at the end of incidental rather than inevitable. It is staged funny and macabre, sad and himmelhochjauzend to death.

These emotional states may also have accompanied the history of this visual gem. Andreas Arnstedt worked for 17 years as an actor. That he wanted to direct for the first time, considered in the film funding bodies, probably more a bad idea. Sometime Arnstedt was fed by showing up fully and decided to make a low-budget production with no subsidies, only with the money he had put aside his work for TV shows (among other things, Good times, bad Hours and Coast Guard ).

Much better than potential donors liked the screenplay but Arnstedt actor colleagues. And so enthusiastic supporters of the renowned director like André Hennicke, Steffi Kühnert, Matthieu Carrière and Ingeborg Westphal for the heart to tell this story at last, based on a true story and the director for many years had carried with him.
(# ) The deprivation, above all, an actor’s film. He tells the feelings, dreams and traumas of its protagonist through tender glances and gestures that are often submerged by the camera into a warm, soft light. Perhaps the secret for the big magic that radiates from the film: that the hard facts are portrayed in a visual world that is inflated by the subjective desires of the young protagonists. This creates a heat flow of sympathy for the soft core under the tough exterior. Although this may sound a little odd, given the terrible events.

(Peter Gutting)

Title: the dispensability of Country of production: Germany Length: 95 (Min)

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