When Tommy and Becky have sex, their skin claps loudly
and Becky says, "Ow," then, "Make it stronger!" On the shelf in the
Living room of the two is a lettering made of plastic: "Home", but refrigerator,
Cabinets, walls are empty, naked, bare. Just like the trees outside, like the ones
Parking lots, business parks, allotments, where they roam around. Sometimes
go shooting in the forest. On the way back they argue about
which passers-by they could shoot. He is allowed to
do not look German.
Becky (Ricarda Seifried), Tommi (Thomas Schubert) and Maik (Jean-Luc Bubert), who joins later, are self-nominated
Right-wing terrorists, and the world they live in, is one piece
Crap. It should be said so clearly, because Jan Bonny with his
second movie winter's Tale Every effort is made to offer
To reject the glorification and exaggeration that the mighty apparatus makes cinema. Violence and terrorism can be damn sexy on the screen
look like examples of Bonnie and Clyde up to The Baader Meinhof
complex keep in mind.
None of it in winter's Tale, Jan Bonny has one
Movie about the NSU turned, without explaining and even more without the
völkisch-ideological drivel of a right-wing terrorist space and meaning
to want to give. He designs a cosmos of wickedness and aimlessness
Staggering, out of frustration, fear and despair despair, because their own
Life feels so damned empty. Above all, the ugliness rules here
all shades, it literally swells out of the dull, gray-brown
Images. The question is, if that as a narrative concept, a film of two
Hours running time.
Bonny took winter's Tale in attack after doing the NSU process
visited in Munich and got the feeling, the monstrosity of the deeds and
their perpetrators have not been sufficiently artistically taken. To be
He kept only the basic constellation of real events: two men and one woman, the
set the goal to kill non-German-looking people. Otherwise
Becky, Tommi and Maik have no resemblance to Beate Zschäpe, Uwe Mundlos
and Uwe Böhnhardt, neither outwardly nor through their actions.
The story begins abruptly, the figures hardly get
Contours or background. Becky and Tommi seem to be already underground
at least they behave conspiratorially, collect after a shooting exercise
empty cartridge cases live in the Cologne area in an almost empty apartment. The
both associate more hatred than love, arguing, screaming, Becky
beats Tommy. When no one sees her, she bursts into tears. And Tommy, the
wanted to study, but did not dare hangs around in the park, biedert
an adolescent who was beaten up, and who escaped
he exclaims after him: "I am not one of the bad guys!"
While they are cheering, they roar "Germany!"
As without explanation the bearded, older Maik joins takes
the destructive dynamics are on the move. Narcissism and inferiority complexes discharge into evil sex and finally into violence. The first humans die. Followed by drunk, even more sex,
even more violence. A cycle of blood, sweat and stupendous futility is
set in motion and no ideology in sight, as inhumane as well
always, at least to give the murder at least the appearance of ill meaning
vermöchte. While they are roaring, they roar "Germany!", Otherwise they are not
To hear Nazi spells and not to see swastikas or runes. The three kariolen simply unrestrained towards teeth clanking madness.
Jan Bonny is in his debut film Across from (2007) ever
his protagonist by hand camera uncomfortably close to body. Back then
it was about a woman who regularly beat up her husband, and stylistic means of this
Horror chamber play can also be found in winter's Tale, The camera is always very close, while birds, killing, drinking
and arguing. It transmits the irresistible hysteria of the protagonists almost physically to the spectators struggling for distance. Especially the
numerous scenes with copulating bodies in changing pairings – Becky
with Tommi, Becky with Maik, Tommi with Maik and finally all together – would
you like to spare yourself.
This is where the problems of this film begin. Already clear
that Bonny wants to show and feel the dreadful monotony that is the
Acting is based on his three main characters. But he shows that
Endless sex scenes so persistent that they freeze into mere pose, at some point they only tire. When the three of them finally roll in the sheets, the supposed shock effect is long gone
slackens. Sex and violence, yes, we understood. That is in their world
everything revolves around her, too. Long before the last act.
Even more difficult is the crooked image, the hint
The three killers formed a terror cell, part of a larger one
Network is. Two scenes give this impression, and they bring the attempt
Bonnys faltering, not explaining his fictitious NSU version or in
to want to set political or social connections. Especially
they upgrade the actions of the terrorists. Suddenly they appear as part
a purposeful action, a secret agenda. This is in the blatant
Contradiction to the actual statement of the film – and also to the real NSU, the
according to all previous findings could count on supporters, but
was not part of a larger far-right terrorist network.
One thing is right: as it is not entirely true today
enlightened NSU complex is an impertinence, should also have a movie about it
May be unreasonable. It is good that the brave tried to equalize
ARD trilogy In the middle of Germany: NSU an excessive artistic
Experiment is put to the side. winter's Tale is like one
purulent pimple that is expressed. It hurts and should be done carefully. Ultimately, however, this film also remains at a loss
considering the malignancy of human action.