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rehe almost wishful wish, in the face of police fiction and Wohlfühlromanzen, but eventually return to more relevant films, it seems to have been heard once. The convincing and authentic soul drama about a psychologist who is put out of action by a violent badual badault adventure sensitively into internal conflicts that are only their cause in the visible action, but are by no means absorbed by it.
If such a project succeeds, stays and falls with the protagonist. And a better distribution could not have been found. The fact that Bibiana Beglau is able to play complex personalities has been proven time and time again. In the personification of Hanna Rautenberg, one will probably think first and foremost about Greta Chameni, played by Beglau two years ago in "Über Barbarossaplatz", also a damaged psychologist but with a firm will, who could not forgive himself, a situation – at the time to the suicidal thoughts of her husband and colleagues – did not recognize her correctly.
Happiness penetrated as a contrast
The starting point of the film by Christian Görlitz (director and book, the latter written with Pim G. Richter) is of course very different. The heroine works in a high security prison, where she successfully runs a social therapy service. The heavier guys accept them because of their skills, not because of their position of strength. Hanna is doing so well in private life: the son, raised alone (Pascal Hoese), is well advised to attend the wedding with his sweetheart Stephan (Thomas Loibl). With the usual staging of happiness on television, the film seems to exaggerate a little in the first minutes, when employees and inmates of the institution are in a good mood or the couple in love with the Italian dance laughing.
This entry seems a little as if Görlitz wanted to prove to us how good the gear is close (and yet distant) conventional. After all, most thrillers end up letting offenders go to jail without worrying about a new topic of waiting. But then the shot. From one second to the next, all the gaiety ends.
Ironically, the prisoner, to whom the therapist had made a good prognosis, turns out to be a flawless psychopath. Petrovsky (Till Firit) convicted of committing death at death had apparently only simulated his behavior change. When Hanna Rautenberg dissociates him from the connection with a correspondent suffering from helper syndrome, he turns around and shows up: he takes the psychologist hostage in his own office, humiliates and rapes those who are in agony for seven hours . Sten Mende's camera holds back discreetly, shifting the horror into our imagination. Even if a special working group is quickly on the spot, no one intervenes, resulting in a second misjudgment: a colleague from Rautenberg (Norman Hacker) believes that, still confident of his ability to overcome the situation, says Petrovsky phone, they speak at eye level – better put themselves under control.
Access only occurs when the offender has "almost finished with the victim". Being at the mercy of the most arbitrary of all the spaces of despotism of a delinquent, without intervention of the security forces in earshot, would probably be traumatic for anyone. The film allows certain motivations of the kind tension, when the protagonist attracted by the attacks of panic wants to recognize his attacker: here is the psychopath who emerges from nowhere and who laughs disgustingly in front of the windshield. Even her friend can not distinguish Hanna from Petrovsky, beats him with a knife from his hand. Do not wait with marriage in these circumstances is probably not the best idea, but Stephan also understands: "Especially now." Hanna, who feels "dirty", rejects all intimacy and suffers.
The real heroine does not know a happy ending
To make matters worse, they are faced with questions about their own mistakes that could have led to the situation. These questions are not unjustified, as she knows, but at the same time constitute an imposition if they come from the outside. Hanna protects herself against any suspicion of reversing guilt, the term "blame of the victim". She suspects that her office wants to escape her own responsibility.
Bibiana Beglau brilliantly managed to express with physical intensity the painful dilemma of her quasi-resistance to the profession. Hanna knows that the role of victim is a trap, but can only be released by publicly denouncing the misconduct of her colleague and supervisor in court. Each of her steps is coherent and understandable, but she plunges deeper into the darkness: the heroine is right, she is always more unfair in her absolute despair, she finally accuses her husband of falling in the back or to escape, The author still has power over his life.
This is hardly bearable in his tragedy, which is why filmmakers have also taken a look and dismissed the audience with a hint of hope. The true story of Susanne Preusker, to which the film is closely related to the dialogue, ends sad: the psychologist, who had to endure Straubing ten years ago, which is so shocking here, then has Emerged as a writer When the therapist stopped working, her life resumed in February of this year. She had already seen the movie finished.
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