A sort of“lles auf Rot” is the fourth and final police film about Hamburg investigators Erich Kessel (Fritz Karl) and Mario Diller (Nicholas O’zarek), dramatic As direct as a fist, he only cared about the details of the crime and moved his simple and complex moral and trust issues under extreme pressure like the predecessors. He was visually and atmospherically very good. In addition to the quality of the previous movies, “Rotten “Love Songs” set its plot as an illusory mood of desire. These images are melancholic and cruel, and are the keynote by Ras Becker (book and director) that brought Kessel and Diller’s journey to an end. Last but not least. However, the main music design of Hinrich Dageföhr and Stefan Wulff provides the right atmosphere.
For a moment, there seemed to be something similar to rehabilitation, and it might even be the hopeful depraved former policeman Kessel. This corrupt former addict has spent two years in prison since the last film and is being released on parole. . When life continues outside. Diller had an affair with Kessel’s wife Claire (Jessica Black), the drug trade is booming. Indebtedness is a death sentence for the neighborhood, and the perpetrator does not care about the unrelated victim. At the Arabian bridal shop in Narges Rashidi, Slavo Popadic initially shot and killed two customers, a rapper who owed him Coke money and his beautiful bride in a white dress. The fatal thing is that she is the daughter of Walid Schukri (Kida Khodr Ramadan), the convicted rope puller and the main criminal, who worked as a prisoner in a laundry with Kessel. Kessel was quickly released on parole, and was supposed to offer a reward for the murderer of Shukri’s child. He refused to kill.
Needless to say, Kessel had no chance to stay clean. Although Diller tried to save his partner, his fragile morality never escaped. Shukri was a man who prayed before being captured. Forgiveness, even if only on the surface, is always given to the wrong person. Three different fathers are looking for ways to get justice for their children. Kessel, who evaded murder in memory of his daughter Shukri, seeks revenge for his daughter, even the murderer Golan, who may have just become a father. The irony is that he might end up doing something right and others People have to die. Diller asked Kessel to try to work as a bartender in the environment. This is not a good place for people who want to stay away from it. No one trusts anyone, especially the best friend before.
Becker spent a lot of time to complete the road of Kessel and Diller. The two made their debut in 2013’s “Unter Feinden”, followed by 2015’s “To Die Too Soon”, 2017’s “Reich oder tot” and now “Alles auf Rot”, ending like a game of chance , The result is as good as roulette is possible. Therefore, when betting on a color, chances are actually not that bad. But Kessel’s child is dead and buried, and people meet in front of the grave, which is almost the only civilized scene in the movie. The prostitute Debbie (Josephine Israel), also a lost woman, is abused by her pimp Leon (Sasha Lehman). Kessel would never avoid such a thing. Even the prosecutor Melika Foroutan acted illegally and eventually targeted Kessel. Kessel’s former boss, Paul Epstein (Martin Brambach), continues to fight for the distinction between law and lynching justice, and between blacks and whites. Finally, Kessel and Diller are about the spark of residual trust and unity that can no longer be turned into flames, and the illusion of distinguishing the degree of guilt in the gray area. Kessel takes Debbie to church, but the pastor behaves like a social worker. No one preaches before Kessel’s child’s grave.
No one else tells police movies in such a low-key and confident way as Lars Becker. In fact, he spent so many years shaping his character in four film chapters (inspired by George M. Oswald’s novel “Unter Feinden”), leading to the extraordinary time course of his anti-hero (life) Authenticity.
Everything is in red, At Arte at 8:15 this evening.
