For Lynn everything is a lie in my life. Everything? “Maybe not everything.” The young woman, who is vicky krieps this wonderfully uncluttered movie screen-face, this sentence sends silent cheerfully into the auditorium. Opposite her a psychiatrist seems to sit, “hm, yes,” but he remains invisible, almost improbable in this opening scene. Speaks Lynn about it with yourself?
Director Ingo Haeb results calculated in a therapeutic conversation the psychological explanatory bear in us the same times on thin ice. And yet attracts us far more subtle than any psychological realism, in the emotional world of his protagonist into it. That perception is always fragmentary and this education and gates are continuously complemented by aspirations and experience that can cinema so much clearer and shrewd mind perform as, for example, the language of this ambiguous sound.
Lynn speaks itself. The complete film was dubbed. What we hear is not the same as what the actors have said in each moment. Time and space remain so caught up each other. For this result is a floating simultaneity of alienation and nearby. And exactly this oscillation also needs Lynn: Once a week, puts the otherwise hyper correctly Preening, closed maids quite brazenly under the bed of any hotel guest, equipped with a nasal spray and blanket. From there, they observed bare feet and high heels, listening lonely Baller- and short love games, overheard Gaga calls over the Muppet Show or simply leaves only the breathing, dreaming presence of another rest.
Is voyeurism? And why Lynns sloping behavior feels so completely to understand, as has been noted in some reviews of the movie? Simple as the voyeurism issue in any case not to answer. To erotic stimulant so it seems Lynn first not to go. And her eyes are obviously already not their main instrument of perception.
In her apartment she hardly ever takes a look at the open laptop where old films are shown. You must not look all the time, she already knows what is there. And they apparently never expects that there is nothing: “Just because you can not see the dust, that does not mean he is not there,” she replied her boss who asks her why she even cleans the unoccupied rooms.
You just have to watch Lynn. When she spent a night under the bed and reborn addition enters the so-called free (“What should be free on the day?” She asks, when she was in vain a “free day” is recommended), Haeb underlaid her lilting steps with exaggerated happiness tumbling fairytale music, although her, objectively speaking, nothing sensational Great has befallen. Lynn comes so glad of the hotel rooms like someone who has seen a great movie. For them, the proximity of people never fully understood how the always-again-Schmutzigwerden the room is an ever new promise of surfaces. Cleaning is paradise. And the hotel is called “Eden”.
Cinema may and perhaps must penetrate into those mythical substrates to tell the best about themselves. In as stifling as sheltering, dark space between slats and carpet, self-imposed in the state, almost complete immobility, Lynn creates their very own movie theater. A listening room.
Designed build Haeb and his camerawoman Sophie Maintigneux (the already 25-year-old for Godard worked) two worlds of cinema-red and City Dove gray blue. Inside the hotel bears Lynn the dark red of “Eden”, but outside such a pitiful old-fashioned, grayish coat that he would be a retiree well. Even the silken sheet that Lynn will sew for a rendezvous in addition, shines in this extinguished color of an overcast sky.
The link to the image medium incidentally creates Markus Orth ‘literary work itself (“The Maid”, published in 2008): If Lynn there turns on the TV, “listens” it “to the sounds of the monitor” and is surprised that each image is accompanied by artificially generated sounds, “quite as as if the filmmakers do not trust the eyes of men. ” Almost never is shut up in the film. “Just like in us, thinks Lynn. We all, she thinks, are merely Foley.”
Ingo Haeb took the apparently directly commissioned. He has transferred the living of inner monologues book on canvas, without getting into the voice-over drivel, and has made the history of this case be quieter, sharper, weightless. He trusts the audience’s eyes. Almost silently survived this Lynn, and they may find themselves, tall, inquiringly gradually. In her own sex scenes namely. As a guest belauschter from androgynous callgirl Chiara (Lena Lauzemis) can stretch a bit on the bed torture, Lynn then steals their phone number and ordered these professional for Noisy HP to his home. Lynn may occur as an erotic film character from the darkness of the audience like and even take action
It follows said sewing work and then work to close:. Brilliant how Haebs screenplay the two women can rain down their first staccato dialogue of nothing but questions to each other before getting into at first shy (Lynn) and amusement (Chiara), then always friendly and determined each other. Maintigneux ‘camera adjusts the body of the maid’s not, but clings to Lynn’s own view of himself.
Even in its comic moments, this film remains velvety for his characters and their foibles, whether Chiara notes that Lynn – what else – tastes like soap, or whether Chiara headfirst peeks at Hotel Guest Date under the mattress, where in fact Lynn is, and continues to talk with their customers as if nothing , There are always the downsides that help Haeb and Maintigneux pointedly into their own.
In contrast to what is commonly understood under the voyeuristic gaze, Lynn leaves distanced Dabeisein under and finally on the bed all to apply all without fear for themselves (or parts of themselves). Also the audience is brought into this freer, research-based location. And so seduced “Lynn” less to voyeurism than to empathy, to a lesson in amazement at a strange man who is not a prisoner of perverse constraints. Haeb leaves Lynn just go out of the picture, into the open to us. Or pretends that?
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