Langreview Kurzkritik English Version Fakten + Credits
Da kommt noch was ©2022 Berghaus Wöbke Filmproduktion | Vega Film
13,056 deaths.[1] This frighteningly high figure marks the domestic accidents in 2020, which was thus even higher than in previous years. With 27,273 deceased whose lives were ended by an accident, this means that almost 48% of people perish in their own homes and this danger should therefore not be underestimated.[1] The Federal Statistical Office breaks down this figure in even greater detail, stating that people aged 65 and over are particularly at risk.[2] If we now include injuries that do not lead to death, the figure rises to as many as 2.8 million people per year.[3] In the film world, however, things look very different, because let’s be honest, who wants to see the protagonist cut himself on a kitchen knife and die of blood poisoning? Even though there are no official figures on this, it is well known that car accidents are probably the most common culprit, as murders of any kind are not included in the accident statistics.
This is what it is all about
When Helga tries to clean up a spider in her flat, the pensioner loses her balance and breaks her leg. Fortunately, her housekeeper finds the injured lady the next morning. Now, however, Helga has to cope with her everyday life all by herself until she meets the Polish worker Ryszard, who helps with the housework as a holiday substitute. Even though Ryszard comes from a much poorer background and has great problems with the German language, the older lady develops an interest in the younger man and increasingly spends her free time with him. But it is by no means seemly for a privileged woman to be with such a man. Torn between the two, she must now decide whether her reputation with family and friends is more important than her own happiness.
Review
Even though DA KOMMT NOCH WAS opens like every other film made by the public broadcaster, it shows great potential for innovative German cinema quite early on. But instead of turning the idea of domestic captivity into an exciting survival thriller or at least an interesting survival drama, the work slips far too quickly back into the monotonous and boring pensioner stories for which domestic cinema is unfortunately far too well known.
Da kommt noch was ©2022 Berghaus Wöbke Filmproduktion | Vega Film
In Germany, drama is also called drama, because almost every situation is played up uselessly and the German culture of nagging clearly shows itself linked to the exhausting idiocy of the protagonist. As sympathetic as the character Ryszard, played by Zbigniew Zamachowski, is portrayed and grows on us, Helga, embodied by Ulrike Willenbacher, remains aloof. Indeed, there is hardly any dynamic to be felt and even silly 90s party hits only make the film seem more idiosyncratic and creepy. But it can perhaps be mentioned positively that the German drama has a conserving effect, because even a bird that has apparently been dead in the cupboard for decades visibly does not fall victim to the process of decay. However, this principle probably only applies to animal creatures.
The class system in Germany
But it gets much worse, because unfortunately there is not much space between discrimination, oppression and this film. For example, foreign-language domestic helpers are employed for extremely low wages and are also grumbled at from above for their lack of understanding of the language. Apart from this, the skills of the domestic help are questioned several times and they are cast in an under-medium light. However, instead of learning from the idiocy or merely making an effort to establish a common basis for conversation, the class structures remain in place throughout the film and are even repeatedly exacerbated at times.
Da kommt noch was ©2022 Berghaus Wöbke Filmproduktion | Vega Film
The decadence of wealth casts an extremely unpleasant shadow over the plot and is only topped by the fact that the protagonist sees herself as a saviour and bringer of salvation, even though all her actions merely work towards her own satisfaction and gratification. Hypocritical selflessness is prominently placed under eye-wash and confirms the possible worldview of what must be a very select and conservative audience who will embrace this work. The classicist approach is maintained until the very last second and exhausted to the point of unbearability.
The pensioners’ programme sends its regards
Away from the ever-grey, drab and loveless visuals, the film team also fails to muster even a modicum of narrative pace to allow a pleasant dynamic to develop between the two main characters. Cinematographic rookie mistakes come across as annoying and exhausting. For example, there is a scene in the park in which countless extras have been clearly placed all over the screen, moving according to perfectly timed patterns. They all go in different directions and walk at exactly the same pace, nipping any natural scenery in the bud.
Conclusion
In the end, there are unfortunately only very few positive aspects to be gained from the work, although there were several possibilities to go new and different ways than the usual mishmash of TV productions that only serve to satisfy the senile consumer. Even if the film appears to be well produced by local standards, the question of its raison d’être is unfortunately omnipresent.
How did you like the movie?
(1 Bewertungen, Durchschnitt: 10,00 von 10)
Loading...
Sources
Hinterlasse einen Kommentar