Sometimes you just have to let things run their course and then something will happens says director and protagonist Tom Lass in BLIND & HÄSSLICH. He’s also describing the strategy of German mumblecore films that relies on improvised dialogue and interpersonal tiffs. Like in almost every improv film, the spontaneous ideas and dialogues don’t always service the plot, but the radical jump cuts curtail the idle speed. Lass plays socially anxious Ferdi who lands in assisted living. His problem: he can’t deal with people at all. Meanwhile, Jona (Maoni Achternbusch) escapes to her blind cousin (Clara Schramm) in Berlin before her finals. Jona pretends to be blind to get a room in disability housing. She meets Ferdi, who opens up to the “blind” runaway. But how long can Jona pretend to be blind? How much will Ferdi open up? Tom Lass doesn’t rely on the next gag, he stays close to his characters, who are bizarre people but are never put on display. That’s why the casting is key. The chemistry between Lass and Naomi Achternbusch is great and helps the film stay grounded despite the fact that the basic concept is not very believable. There are many young cinema cameos like Axel Ranisch (ALKI ALKI), Karin Hanczwski (LOTTE), Martina Schöne-Radunski (LUCA TANZT LEISE) and Tom’s brother Jakob (LOVE STEAKS). Along with the pleasure of free acting, Tom Lass also shows he has a distinct directorial style in moments when the music abruptly stops and starts and when the editing is finely nuanced. The strongest scene is completely wordless and very cinematic: a fight that is brilliantly edited that says everything with images and cuts.

Christian Horn

Translation: Elinor Lewy