The current Frankfurt “crime scene” is responsible for almost the same Team as the first three weeks of a previously sent Episode “turning hammer”: Markus Imboden led, in both cases, the Director, Stephan Bruges Thies was involved in the screenplay, this time reinforced by Khyana el Bitar and Dörte Franke. But instead of a beautiful, eccentric, Grotesque, taking liberties in every respect (which arrived with critics and viewers only mediocre), we have made it this time with a heavy moralizing, to the highest topicality tried, but unfortunately, criminally boring “the scene”, which came with Roeland Wiesnekker as the Commissa riat conductor in the inner Emigration is also a secret main character of lost. Bruno Cathomas is doing his Best to replace Wiesnekkers absurd Comedy, but the character of the new chief in spite of the oblique by the Name of Fosco Cariddi, and many Tourette’s-like, out puffed the Ernst-Jandl-recitations pale and uninteresting.
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anyone Who thinks the title of “Land” next to the course soon geträllerten folk song “kein schöner Land” is equal to the so-called refugee crisis, the gold is right. But the commissioners Anna Janneke (Margarita Broich), and Paul Brix (Wolfram Koch) did not get even a Chance to delve into the complicated, and perhaps uncomfortable intricacies of this issue, but do not need to audition a “We can do only if we don’t want to do it”-opinion. Aesthetically it is arg conventionally, the only special Director’s idea is that a lot of times the emphasis of the German language as an identity criterion. The language can, however, learn of each, as we can see, there’s blood and birth plays no role. A small hope of light in an otherwise fairly oppressive society diagnosis.
In the side rooms of the Libido abreaction
The story is thin and contrived. After an arson attack on a Barber shop, one of the trainees came to death, according to clerk Vera (Jasna Fritzi Bauer) of a dispute with a in front of the Store drugs selling Africans. Incriminating fingerprints, and a telltale “Kill all Nazis”Graffiti. The refugee John Aliou (Warsama Guled) ends up in detention.
Everything is so beautifully colorful here: the landlady, Fanny, it is now international. Commissioner Brix must migrate on the Sofa.
Anna Janneke has the feeling that the proof is clear. She feels that Vera and your environment on the Tooth, and promptly we are located in the Milieu of the new Right, Identitarian, which are naturally formed classical, German songs, maintain, and pretty-harmless look (Anna Brüggemann, Odine Johne). That you should have here to do with a Trio infernale, is hard to believe. The stupid right but also its appearance: The spend their days in a Club where you can hear at noon humming the music to “Heil Hitler” to his bottle rises and in the side rooms of the Libido reacted.
no less a template is the representation of refugees in a tired comedic parallel action. Brix landlady Fanny (Zazie de Paris), has added three asylum seekers, and Brix must henceforth spend the night on the Sofa. Besides, one of the New in front of him into the bathroom, which he acknowledged with “Fuck the refugees” flits always. Now you can enjoy tasty international dishes are served. It is not always easy with a “welcome culture”, but it’s worth it, want to tell, obviously.
you Must talk to us like five-year-old?
Then one of the refugees is picked up, an Afghan who has spent as Syrians. Fanny rumbles, “so what? You will find that Afghanistan is a safe country?" So it goes here often. The action arises out of inner necessity, is not well developed from the characters, but only serves as a template for moral messages such as these: “man, skin color and nationality has nothing to do with Good and Evil.” Apparently, you have to talk to us like five year olds. A lesson in public estimation.
The new boss is a bit strange: the main Commissioner Paul Brix (Wolfram Koch, left), chief Commissioner Anna Janneke (Margarita Broich), and Fosco Cariddi (Bruno Cathomas).
A sudden, brutal attack on a woman wearing a headscarf, the every act of integration is missing, presumably to show that Germany is now an unsafe country of Refuge. Brix would hide the suspicion against the fugitive for love: “When it comes to the press, then the only fuels more hatred.” So much of the Film to conjure Up the dark atmosphere between the “lying press”-accusations and burning refugee homes is that each narrative is lost of ease. Many of the smaller storylines perish even unresolved. Presumably you will hold the Film naivety or political correctness, especially as, of all things, the issue of terrorism plays no role, but that is not the point. To show attitude is undoubtedly important, especially in this time. Attitude alone makes no good movie. Dispensed easy to Teach!
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