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Scene from "And tomorrow the whole world" with leading actors Heinze, Emde, Saveedra: quarrel with the willingness to use violence
Photo: Oliver Wolff / Alamode
All Germans have the right to resist anyone who undertakes to remove the constitutional order of the democratic and social federal state of Germany - if no other remedy is possible.
This is how it is summarized in Article 20 of the Basic Law.
A sentence that many people are currently referring to: rights that see the federal government's refugee policy as a breach of the constitution;
So-called lateral thinkers who protested angrily against the restriction of their basic rights in the corona crisis - and leftists who fear that the organs of state security and the executive, police and army, have long been infiltrated from the right.
But left and right, these ideological camps dissolve more and more in the general tumult of resistance when right-wing extremists march side by side with hippies on demonstrations against the mask requirement and exit restrictions.
When horseshoe theorists approach left and right violence as equally corrosive.
It has become confusing this German autumn.
Simple answers to old questions are less available than ever.
Julia von Heinz holds her film "And tomorrow the whole world" like a clinical thermometer in the lead state of this German autumn.
In it she tells of a young woman from a middle-class family who is involved in the Antifa, first in an alternative, political milieu, then more and more in the radical.
For her fictional problem, the director, who has previously shot entertainment cinema, also draws on her own biography as a young anti-fascist in Bonn in the early 1990s.
Your sober but intense auteur film, which premiered in the competition at the Venice Film Festival and is now entering the Oscar race as a German entry, is fundamentally biased.
But even in the title he provocatively leaves political issues in the balance: "And tomorrow the whole world" is a quote from the propaganda song text "The rotten bones tremble" by the National Socialist Hans Baumann.
Of course, this is to be understood as a warning: When, if not now, would the time be for left resistance to reactionary framing, the right's new salon ability?
Luisa (Mala Emde), who is studying law in Mannheim in the first semester, is confronted in a lecture with how an obviously right-wing fellow student interprets the above-cited paragraph of the Basic Law for his racist agenda - and gets angry.
So angry that she quickly sided with some activists around the wet research Alfa (Noah Saveedra) and the introverted Lenor (Tonio Heinze) in her new flat share, a left-wing alternative housing project that is currently striving for legalization by the city.
During a demonstration against a local AfD politician who escalated with throwing paint and cakes, she stole a Nazi watchdog's cell phone.
She is pursued and brutally searched by the bald man.
It is staged and meant to be rape - the scene serves as a drastic personal motivation and as a striking symbol for the social abuse of the right, but remains ambivalent: violence creates counter-violence, the eternal dilemma.
Accordingly, Batte (Luisa-Céline Gaffron) is angry with her old school friend, who she thought would be more discursive, in the plenary and civil protest environment of the Antifa, instead of putting herself and the whole project in danger through radical actions bring.
But Luisa is agitated and romanticized by the attractive rebel Alfa.
The parallels to Andreas Baader and Ulrike Meinhof or Gudrun Ensslin are obvious, but the solidarity with the RAF myth is vehemently thwarted by Julia von Heinz and screenwriter John Quester: As the trio after an escalating action against Nazis, Luisa suffered a cut on the Leg is inflicted, is looking for shelter with the ex-terrorist Dietmar (Andreas Lust), the old left clarifies: Nazis beat up, it's like whitewashing the facade of a dilapidated house again and again, he says.
It used to be about the big picture.
In other words, about the overthrow of the system, the wrong life in capitalism, a reform of living conditions.
Dietmar is the most interesting figure because it shows how disillusioned and lonely the fight against the law can ultimately make you even if you step into illegality.
The young staff of the film already carry this tiredness, a postmodern knowledge of the risks of their actions and the post-ideological complexity of the new era: Mala Emde, a discovery for the cinema, is terrific at her face in a nervous mask of to transform constant strife and doubt.
Even when it comes to sex between her and Alfa, there is hardly any desire, no euphoria, just careful palpation.
"If you're serious, I'm serious, too," he says.
Her deeply melancholy gaze already seems to anticipate that in the end, at a Nazi festival, lying in wait with a hunting rifle, she will have to make a decision all by herself.
Make "broad alliances" with the Greens, the Left Party and the public, as Lenor suggests - or let the anger explode, leave civilized terrain, consensus and common sense?
Wasn't it always what differentiated the left project from "them"?
It's also one of those agonizing questions this important film poses in the silence before the shot that might fall.
You have to answer it yourself - as a responsible citizen.
Editor's note: According to the distributor, the film will start in the cinemas on October 29th and will come back to the cinemas on November 2nd from December 3rd after the corona-related break.
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