TV-criticism, “the scene of the crime” – lizards, and other problems of the posh new Munich “Tatort” has class and he told the class. And universal loneliness.Alexandra Kedves1 Kommentar1Die mother – a strong, Laura Tonke – wanders through the forest, where they found the bike of your dead son.Photo: The First

the Bourgeoisie in the night. A man falls to his XXL-fridge, the Kids in the room to gamble next door at the giant, flickering screen. And in the garden of the fancy house in a Munich suburb, the lawn starts Sprenger hissing his summer job.

But rises as the sun is to stand in “Let the moon in the sky,” nothing more, as it was. A first idea has Judith Kovacic: Laura Tonke as a mother of a 13-Year-old, it was always hard to be of his classmates accepted, comes out in this “crime scene” in size. Since you Fluctuate between growing panic and intense self-calming strategies, as the Boy is not there in the Morning, in the beginning. Later on, the despair, grief, and confusion after his body was found in the Isar, and his last cell phone signal to a remote Parking lot has been referred, a meeting place for clandestine rendezvous in the forest. It was a sex offender?

Fake everywhere

What happened to the Game night in the neighbouring Basti Schellenberg (than feeling cold Teen: Tim Offerhaus)? The Austrian Drehbuchduo Stefan Hafner and Thomas Weingartner scatters suspicions in all directions. When you inspect a school, smells Commissioner Batic (Miroslav Nemec), the usual mixture of “fear, Sweat, and heartache”; and not only the statements made by the stepfather of the dead boy stink of a lie. Where you look: Fake; single kämpfertum, loneliness.

Cold klirrts in the small family world of the Kovacics and the clamp mount. In the silence of the Unsaid roars. And comfort it gives to you only as a eingetuppertes piece of birthday cake: Basti’s mother’s friend Judith remnants of the Party of your 18-year-old daughter brings. Judith’s son, of course, will not celebrate a birthday more.

Great casual opportunities

Director Christopher Schier, even he, an Austrian, has emotions, has a knack for Painting of verkühlten sceneries and high-boiling. Even the image of the swaying in the breeze swing for children transported here in more pain than cliché. In the long, taciturn Shots succeed Almost drawings also trenchant Personality. How about Basti’s father in Vivaldi’s “Four seasons” is sinking, as if there were no Tomorrow, makes it clear: the a crack.

Meanwhile, the natural turns unmoved in the eternal cycle, the camera is in still-life of buds, animals, and Branches mocking laughter. “We have a lizard problem,” says Basti’s mother in Minute 18 in the face of the tiny Urviecher. This scene is a casual, large-dates-like – great dates by the way – in the posh “scene of the crime”, the, shoehorned almost incidentally, also a legal plight into the focus and into the conversation of the commissioners Batic and Leitmayr, here and there, dust-dry wit.

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