Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.
This is an incredibly intricate and thankfully subtle-when-it-counts psychological drama. It also has an interesting approach of showing us what is seemingly your typical, bitter, drunken, couple of academia, then when their guests arrive we start to learn, slowly but surely who they really are, and the portrait painted is shocking, harrowing and really makes you think.
This film is based on a YA novel by Mirjam Bous. The book was so popular that it spawned adaptations in both the Netherlands and Germany in 2015. This is the German version.
The plot is one that starts in medias res as the protagonist cannot remember a thing about himself, then before he has time to think on it at all he realizes he’s being pursued by authorities, and has no choice but to frantically run out of sheer instinct.
Even seeing this much later than the Dutch version, it truly is impressive. It’s a prime example of trying to squeeze all of the narrative and visual potential from the source material versus rote, washed out, dystopia-by-numbers with a few wrinkles in the prior.
Even some of its strengths are stronger than the highlights of the Dutch version. The electronic score pumps the tension and the endorphins as needed. David Kross, is an effective and more engaging lead, and it brings to fruition my wish/issue with the prior film, which is that it takes that extra fifteen minutes and makes tremendous use of them in creating ambience and developing character.
While the Dutch film was over-concerned with getting details in about how exactly the dystopia came to be but being tremendously broad (in a similar vein to The Purge), the German film treats the dystopia and the commingling of corporate and governmental law enforcement as givens, this allows for more identification with the characters, and basic suspense building.
Furthermore, the cinematography in this version is scintillating. It eschews clichéd desaturation and fluorescence and focuses instead on vibrant, saturated coloration, deep shadows, precise framing, and beautiful compositions that juxtapose the ugliness of the world they portray.
Were this a story you were interested in seeing I would highly recommend this version of it over the Dutch.