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This text was published in its original form in September during the first broadcast by Arte.
Some books weigh so heavily that they should not be filmed. Too easily, we lose it. If you try anyway, everything should be better in the sense of: really all, Scenario, Actor, Camera. Director.
Susanne Preusker wrote such a book. She worked as a psychotherapist in various prisons, including bad offenders, until she was overwhelmed by a patient in Straubing prison in 2009 and raped for several hours. In 2011, "Seven o'clock in April, My Survival Stories" appeared.
The director Christian Görlitz (also a book with Pim G. Richter) has nevertheless tried and with "Seven Hours" no filming, but a film based on the reasons of the book. Strictly speaking, several prison dramas, psychodrama, court drama, relational drama. Scenario, Actor, Camera, Director. This is sitting allSo that's why "Seven Hours" is also sailing hard to the limit of the bearable.
The film tells the story of Hanna Rautenberg (Bibiana Beglau), whom we meet as an extremely motivated therapist. Her motivation is such that, after four years, she creates a positive prognosis for her future executioner (Till Firit): "In the meantime, he even finds access to his feelings!" This is the only time the film breaks the traces of heroin, at the very beginning.
The psychopath, to whom the psychologist goes to glue, is recognizable to the viewer as such at first glance. "Access to one's feelings" is articulated in phrases such as "It's not because I'm mocking it, it does not mean I do not understand it". Shortly after, he understands very well what the woman must endure in her power. Only he does not care. This is the prison drama.
"Sadistic plot scenario fantasized for life"
The problem of showing such an act is solved in an equally painful and magisterial way. At the right moment, the camera moves away. And exactly what happens is brought to the oral presentation in chronological anticipation of the trial with a legal cold. He had come to "several mbadive rapes", the perpetrators have implemented a "scenario of sadistic conspiracy vorfantasiertes many years". It's the drama of the court.
However, what exactly happened, we see the main actress Beglau. We see the unspeakable in each of their looks and play their mouths, we hear them in their voices and read in their posture. A woman who happily dances in the street with her future husband (Thomas Loibl) – she is broken. It's the psychodrama.
DISPLAY
The film now tells how Hanna Rautenberg is looking for a way to get back to life. And that does not make things easy for anyone. Not the prison administration, which did not intervene by the SEK. Not his colleague who blames him. Not her husband, who despairs of his wife's mental illness. Not the friends who are turning away from the fragile Avenger. And not the victim herself who goes through hell: "I'm dirty, that sticks me". It's the drama of the relationship.
A wrong word, a wrong question – and the disaster is back. And in such a situation, every word, every question, every nonverbal gesture seems to be correct: to be wrong. "Seven o'clock" tells how a relationship is likely to break under such conditions. Beglau plays so hard that it hurts. Whether spooky flashback in the car or the pool. That is when she says in a harsh voice to her husband, "no longer wanting to spread her legs" for him. In conversation with his own therapist (Imogen Kogge), it's already a triumph to get off in an underground car park.
Beside that, there is the question of whether there are limits to the ability to deal with bad offenders ("disregard the act, but pay attention to the culprit") – and where that could be . The answers to these questions and to all the others that the film has to. The most comforting aspect of this work remains the open but timidly optimistic end.
"Seven hours", Wednesday, 8:15 pm, ARD
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