terminus is this “Polizeiruf 110″, not even “Lives” he admits. And indeed likely squeamish even want to get out in the first few seconds: A twelve year old is brutally beaten at dawn, still tottering, his broken airplane in hand, toward the police station, but then falls down dead in the street together
. detective Chief Master Mautz (Steve Windolf), never really come into play in the past between the mutually anfeindenden main commissioners, one of the faint-hearted. To him, it is enough, he throws out in this episode, the boy’s death was too much.
A trip to hell
But the trip has to hell of broken aspirations only began. When one thinks, worse can not occur, there is always still a whole registry worse. The bond between children and parents is cut, so torn. Since no police in the world can help more. “Terminus” from a screenplay by Stefan Rogall is probably one of the darkest, bitterest episodes in German Sunday night thriller ever, hopelessness ausbuchstabierend to the hardly bearable. But at the same time, that’s the trick, is very good television.
No sweet home: prevails between the couple Schilchow and their foster children tense Distrust. There is a reason.
A family drama in which there are only victims, so authentically depict is an uncertain proposition that succeeds here because everything is just right: the nightmarish imagery of Hanno Lentz, the depressing scene image of Florian Langmaack, precise, only with a homeopathic dose laconic darkness enlightening directed by Matthias Tiefenbacher and especially the great acting performance of all those involved.
More about
Ronald Kukulies and Paula Dombrowski mime with downright creepy Akkuratesse an overtaxed parents who took up next to your own child Bella (Janina Fautz) three foster children: Marco, the dead boy, his brother Sascha (Nino Böhlau) and mildly mentally retarded Nadine (Luzie Ahrens). “We wanted a big family,” says mother Schilchow in itself evocative way: “Understand that we always wanted.” But no one seems today here really to trust except for Bella and Sascha, a clandestine lovers. Cleanliness is the living and business model Schilchows who own laundry, but the growing spots on their dreams can no longer be soon overcome. Julischka Eichel again plays the role of drug addicts, broken, is clinging to wishful thinking mother of the two brothers with so much more credible despair that you almost forget that it is necessary to solve a case.
Secret of the Pocket
But it is determined, especially the murdered boy was wearing a pocket watch with him, the day has been previously stolen an old, also brutally beat woman: a reference to the killer? The case takes the solitary, always around roaring motorbike, but emotionally intelligent Commissioner Doreen Brasch (Claudia Michelsen) who just passed – after four episodes, the last one a double and complex -. Has lost its partner Drexler
Not a good end in sight: Lara Schilchow (Paula Dombrowski) and her daughter Bella (Janina Fautz).
Sylvester Groth said to have criticized the quality of the scripts; maybe then it has catered for the courage to try it once with reduction and consistency. The role Brasch is also the reflection of the plots: Even Doreen grew up without parents, her teachers was precisely the man who is now in charge in the Youth Office of Marco and Sascha. Moreover Brasch son, who, as we know from the past episodes, the radical right has turned to be released from prison. That this parallelization of mother-son conflict is not disruptive, but rewarding, is because, as will be carefully dealt with it. Most runs even without comment, only gestures and glances, a rarity in this genre.
And then still has the famous Last its debut, Matthias Matschke, the best fits as talkative Commissioner Dirk Köhler provides in this team and for small Schmunzler without going into comedy. Maybe you would not so much have to continue the running joke of the time skirmishes between Magdeburg main commissioners: Brasch leans her new colleagues across the board from; the joviality, with this always cheerful offering cooperation, it disgusts particularly. A grin flits across her face only when the new a motorcycle helmet suggests the face. But of course, everything else would not have been compatible roll. And of course, the two are approaching gradually but after Koehler has given through a tantrum and a severe violation of respect. In this respect this serious film for “45 years Polizeiruf 110″ -Jubiläum anything but a terminal, namely a successful start, the expectations arouses.
No comments:
Post a Comment