Argentina, in the middle fifties. Sulamit is the daughter of German-Jewish refugees. Friedrich is the son of German-Nazis refugees. Both children are closely friends as times goes by ... See full summary »
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Christian Moris Müller
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During their childhood Hanna and Clarissa were the best of friends. They spent every vacation together with their parents in an old summer house on a small island. Shortly after Hanna's 9th birthday they suddenly lost touch until an unexpected reunion 25 years later. Hanna is now married, has a seven-year-old daughter and is the chief resident physician at a hospital, which is where she meets her old friend who is delivered to the ER after overdosing on sleeping pills. The two women pick up their friendship where they left off and spontaneously decide to spend a few days on the island, just like in the old days. With Hanna's daughter Lea in tow they return to the place where they spent their childhood. When Hanna learns that a playmate of hers from the island's village, disappeared as a child and was never seen or heard from again, she begins to search the past. Something horrible must have happened on the island back then. But the closer Hanna gets to the dark secret, the tighter the... Written by
Wüste Film Ost
I watched because it's in German and I can confirm that this film is excellent for German listening practice. The dialogue was extremely simple and brief so it was very easy to follow. I watched with German subtitles for any dialogue I might miss and I barely needed them.
So that's one reason why it's not so great as a film; the script.
What I liked was that the plot unfolded in a much more realistic way than I expected (I won't expand because I don't want to include spoilers) however, the various techniques employed to constantly remind viewers of the tag lines was fairly amateur: certain phrases kept being repeated and the entire film has been done 1000 times before.
I didn't like Mina Tander in the lead. Her acting was by-the-numbers and she just didn't have much charisma in this film. By that I mean, she didn't stand out. It didn't help that Laura de Boer was, in contrast, extremely charismatic and natural. I didn't believe the friendship between the two; their scenes felt very forced as did their smiles however, the acting was fine for the most part.
Since watching Wir sind die Nacht, I'm now a big fan of Max Riemelt but he does need to work on becoming a different person in his films as I've seen him use the same acting techniques and facial expressions in a few of his films now (e.g. Die Welle).
Overall, it's an average ghost story with one (or two) surprises but nothing new. It's perfect for those looking for German language films and people with a bit of time to kill who like typical ghost stories.
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