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The Chambermaid Lynn (2014)

Das Zimmermädchen Lynn (original title)
Unrated | | Drama | 28 May 2015 (Germany)
1:22 | Trailer

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Lynn is the most thorough chambermaid at the hotel where she works. Crippled by her own shyness, she rummages through the guests' belongings and even hides under their beds, vicariously ... See full summary »


Ingo Haeb


Ingo Haeb, Markus Orths (novel)
3 wins & 5 nominations. See more awards »



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Cast overview:
Vicky Krieps ... Lynn / Chambermaid
Lena Lauzemis ... Chiara / Call girl
Steffen Münster Steffen Münster ... Heinz
Christian Aumer Christian Aumer ... Ludwig
Christine Schorn Christine Schorn ... Lynns Mutter / Lynn's mother
Sonja Baum Sonja Baum ... Silvia
Lisa Guth Lisa Guth ... Silke
Cornelia Dörr Cornelia Dörr ... Birgit
Alexander Swoboda Alexander Swoboda ... Psychiatrist


Lynn is the most thorough chambermaid at the hotel where she works. Crippled by her own shyness, she rummages through the guests' belongings and even hides under their beds, vicariously experiencing their discreet interludes. When she finds herself present during a session with the call girl Chiara, Lynn can't help but let her curiosity get the better of her. Bold and unrestrained, Chiara soon draws Lynn out of her shell, opening her up to a new intimacy Lynn had previously only experienced as an intrepid voyeur.

Plot Summary | Add Synopsis




Unrated | See all certifications »

Parents Guide:

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Official Sites:

UK Official Site





Release Date:

28 May 2015 (Germany) See more »

Also Known As:

The Chambermaid See more »

Filming Locations:

Köln, Germany See more »

Company Credits

Production Co:

58Filme,Sutor Kolonko See more »
Show more on IMDbPro »

Technical Specs




Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


Chiara steps out of the shower and immediately wraps herself in a blue towel, but she is dry. No drying herself off, and no water streams off her body. As she bends down, you can also see her hair is dry. See more »


References Le Grand Amour (1969) See more »

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User Reviews

Out of the light and into darkness: dichotomy
29 August 2015 | by gradyharpSee all my reviews

Some little films come along that challenge the status quo of current cinema menus. Such is the case with this little film that dares go places others fear – and it is to the credit of Film Movement to keep these before our eyes. Without the use of apocalyptic subject matter or robots or building explosions or cars crashes or potty mouth dialogue or the repetitious Marvel Comics backlog of reruns, THE CHAMBERMAID is simply a study of one young girls mind – the past effects of abuse and mental illness, and the need to be loved or at least truly desired.

The unlikely pairing of an obsessive-compulsive chambermaid and an androgynous dominatrix proves oddly liberating for the eponymous heroine of this film. 'The beauty of cleaning is that everything gets dirty again' is the motto of Lynn (Vicky Krieps), someone who needs to cling to what she knows in order to at least feel safe, though routines, places and objects initially seem preferable to people. In time Lynn is seen handling guests' objects and then secretly begins to spy on them in their rooms, it slowly becomes clear that she's starting to find other people fascinating, if perhaps a bit startling. In her obsessive-compulsive role as a chambermaid she crawls under a bed to vacuum the bottom of a mattress, or uses a dentist's angled mirror to check that she's scrubbed all the dirt from the underside of a toilet rim. She rarely interacts with others, yet is endlessly curious about how others live, inspecting their habits with the kind of baffled interest generally reserved for other species. She tries on their clothes (men's as well as women's), examines the pictures in their wallets and reads the inscriptions on their rings. She even hides beneath their beds to observe them unseen. Along comes a guest (Christian Aumer) with a bottle-blond dominatrix, Chiara (Lena Lauzemis), experienced almost entirely through the use of sound and the brilliant face of Lynn, who's hiding under the bed and can only image what must be going on. Through Chiara, it dawns on Lynn that pain doesn't necessarily need to be negative and that intimacy can happen in a context that's a lot more controlled than in real life (read: paid for). This sets into motion the film's last act, which may be predictable emotionally: the encounter has less to do with S&M than with a slow, careful initiation into intimacy, Chiara seeming to know just how to gently nudge her client into accepting, then welcoming, her touch; their sex-for-hire transactions morph into something deeper, their lovemaking achieving a unique blend of force and tenderness. Lynn learns to interact directly with another human being while Chiara discovers a genuine liking for her pupil. Chiara is amused by Lynn's strictly regimented routine, just as Lynn is bemused by the lack of structure in Chiara's freelance lifestyle.

New subject matter realized in a very sensitive way, this film will fascinate those fatigued by movies that rely solely on special effects as opposed to human stories. Masterfully directed by Ingo Haeb.

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