“Boy 7″ is a German thriller with something like Star-Cast. But instead of fresh genre he delivers the continuation of a malaise that other films have already overcome.
Scene from” Boy 7 “: Lara (Emilia Schüle) has Sam (David Kross) has advised to write down his memories | © Koch film
In particular, a genre is successful in Germany: the comedy. Movies by Til Schweiger, Matthias Schweighöfer, F * ck You, Goethe – so what But Thriller, Action, Horror, Fantasy.? Of these genres is far too little shot in Germany, and therefore lacks the central building, which could bind the audience to the German cinema and should. Now comes Boy 7 , a sci-fi thriller, in the cinemas. Meanwhile, director Ozgur Yildirim has been a gangster movie made ( Chiko ) and a musician biopic ( Blutsbrüdaz ) and occurs quite offensive to the concern of wanting to strengthen the genre cinema , Pleasant, yes. But what’s the use if Boy 7 but then the prejudice against German thriller attempts rather strengthened than degrades?
The largely resulting in Yildirim’s hometown Hamburg film starts promising. The teenager Sam (David Kross) wakes up on the tracks of the subway, without memory of who he is and how he got there. In shaky, delirious images viewers what Sam sees sees. The subjective camera lets him feel Sams disorientation whose stumbling, stumbling, groaning. In the subway station a police officer Sam wants to take, but the presents to his surprise discovered that he is pretty good in close combat. He escapes. What follows is no longer filmed in first person, the camera gives the viewer a better overview of what is happening. Whereby him a large portion of good will is demanded, mild overlook the crater large logic holes in the story.
Through a very large chance Sam discovers a diary which obviously comes from himself and allows insights into his past , By an even greater chance he meets Lara (Emilia Schütte), which is also so clueless as he is. Together they study the book and try to reconstruct what happened to them. It seems that both were occupants of the futuristic “Cooperative X”, a mixture of elite boarding and reformatory, to
Boy 7 is based on the eponymous novel by the Dutch writer Mirjam Mous, the children’s books and thriller for teenagers writes. The book is aimed at readers aged 12 years and performs in a dystopian future in which the Netherlands has turned into a police state. Almost simultaneously with the German production of the novel was filmed there and ran in February in the Dutch cinemas. Not very successfully. The main criticism: Director Lourens Blok imitate rather clumsy American genre models. A reproach that must be make Yildirim now.
After the heady beginning he clings to the standards cinematic storytelling for young audiences: fast cuts, sequences that are resolved in as many camera settings, cleaner look, exaggerated sound effects, an all commentary, score. For their own creative approaches there is no room at this constant squinting at the international generic formula film language. It emphasizes Yildirim that it refers to the Weimar silent film, which indeed actually experimented as intense as any other theater in Europe with genre stories. So Yildirim gives his institution director Fredersen after magnates from Fritz Lang’s Metropolis , and he lets Sam in a bar called “Caligari” stumble. But it remains at these appearances, in the staging they find no echo. The remains onsite and faceless like a commercial.
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