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The inspector (Jasna Fritzi Bauer) with suspects at the scene of the crime: researching their own childhood trauma
Photo: Claudia Konerding / Radio Bremen
The scenario:
hell in the head
A woman with a shot in the head and in a wedding dress is lying on her bed, on the sloping roof above her it says: "The devil speaks through walls." Was the woman schizophrenic or was she actually being persecuted by a black power?
In the case of Inspector Moormann (Jasna Fritzi Bauer), the dead woman's dress and the dirt in the apartment trigger memories of her childhood, in which she was apparently neglected and possibly abused.
Research into the bizarre death turns into research into one's own childhood trauma.
The highlight:
Where does reality end, where does delusion begin?
With images of unwashed guys, damaged dolls and greasy fast food, the audience is taken back to the loveless past of the Hartz IV child Moormann.
This has suggestive power, but the filmmakers get tangled up in the narrative levels.
The picture:
The commissioner points the finger.
Moormann's colleague Selb (Luise Wolfram) takes out the ring finger prosthesis of the victim, who obviously tends to mutilation, and provocatively holds it under the ex-husband's nose.
The dialogue:
At the crime scene: Selb curiously bends over the blood-splattered face of the dead, Moormann turns away.
Selb: »Statistically, women don't shoot themselves. They're more likely to slit their wrists. Or poison.”
Moormann: »That wasn't murder. She did it herself.«
Selb: "As long as this isn't a proven suicide, I'm assuming it was outside influence. Why don't you want the case?"
Moormann: "Why do you want to make one out of it?"
Same: »Because the enemy is the devil. And he's never fed up when it comes to death.«
The song:
»Gee Girl‹ from Girl's Generation.
The K-Pop hit reverberates through the hallway when a witness with a round pregnancy belly and a blue manga wig opens the door for the inspectors.
From the dark horror crime scene to the brightly colored K-Pop paradise, the scenery in this detailed psychological thriller can change so blatantly.
The review:
5 out of 10 points.
Decay, neglect and loneliness as far as the eye can see: the »crime scene« as a trauma trip with shoals.
The analysis:
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"Tatort: Liebeswut",
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