6.7/10
457
7 user 18 critic

Schussangst (2003)

Unrated | | Crime, Drama, Thriller | 15 April 2004 (Germany)
Dito Tsintsadze's drama focuses on a loner whose life changes dramatically, when he gets to know a beautiful, but strange girl. Lukas, a young man doing "meals on wheels" instead of ... See full summary »

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(novel), (screenplay) | 1 more credit »
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4 wins & 2 nominations. See more awards »
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Cast

Complete credited cast:
Fabian Hinrichs ...
Lukas Eiserbeck
Lavinia Wilson ...
Isabella
...
Romberg, Isabellas Stiefvater
Ingeborg Westphal ...
Sieveking
Rudolf W. Marnitz ...
Beckmann
Thorsten Merten ...
Krausser
Axel Prahl ...
'Toter Mann' im Fluß
...
Johannsen
Lena Stolze ...
Isabellas Mutter
Lasha Bakradze ...
Der Albaner
Rest of cast listed alphabetically:
Ingrid Böttger ...
Frau Wessel
Artur Dunker ...
Mann im Rollstuhl
Lieselotte Ehler ...
Alte Frau
...
Frau des Albaners
Dirk Kurbjuweit ...
Mann mit Zeitung
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Storyline

Dito Tsintsadze's drama focuses on a loner whose life changes dramatically, when he gets to know a beautiful, but strange girl. Lukas, a young man doing "meals on wheels" instead of military service, doesn't have many friends and leads a boring life, until he meets Isabella. The fascinating girl soon becomes his best friend, but Lukas learns she has a sexual relationship to her stepfather. Thus, he is obsessed with the idea of delivering Isabella by killing the man... Written by fippi2000

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Crime | Drama | Thriller

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Unrated | See all certifications »

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15 April 2004 (Germany)  »

Also Known As:

Aseeton rakkaus  »

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1.85 : 1
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User Reviews

 
Existentialist, but not incomprehensibly so
16 March 2008 | by (Ferndale, MI) – See all my reviews

The plot of this movie is simple: Lukas meets Isabella on a bus, he comes to discover that she is in trouble, and he takes steps to resolve the problem. This tale has been told myriad times.

The characters of this movie are superficial: Lukas is estranged from his father, but we never quite learn why, or why it's even brought up (as Chekhov's gun sits idly on the wall); Isabella refuses to talk about the cause of her problems when Lukas brings them up several times; Lukas, fulfilling his compulsory government work delivering food to senior citizens (in lieu of military work), meets several characters who are revealed to be tantalizing complex (such as a still-active prostitute who's on the dole) -- but are only lightly explored.

The depth in this movie is in the interaction of fear, rage, and eroticism, even though each of these get only marginal screen time. Some of the symbols do verge on being ham-fisted, such as the use of the gun as a surrogate for masculinity (and impotency). However, the denouement is existentialist in its understatement, especially in the final frame: There is still a lot of story that could have been told, but that story simply doesn't matter. The problem has been resolved, so it's time to roll the credits.

It is overall a lonely film, a mood that's established early with a single, immobile shot of Lukas walking past a nondescript building; he walks for a block but passes nobody, and the beige-and-glass of the building oppresses the image of him in his white delivery frock.

Boating on the river recurs in several forms, between Lukas's hobbyist nighttime scullery and idyllic afternoons with Isabella in a rowboat. It is an accident involving the former that attracts the police to him, but the detective, playing out a stock cat-and-mouse story, remains at the sidelines (held in tacit reserve for what might happen in the days following the ending).

Each person has their own experience of a film, but I don't see how this could be characterized, as it has been, as a comedy, even a dark one. It's a calm film, typical of its existentialism, well worth watching but even more worth discussing afterwards.


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