Leave everything behind, break out of your pre-determined life, and social conventions. A revolutionary thought that everyone has, particularly in a highly developed meritocracy in which short moments of irrational thinking seem like the only way out. It’s also a way to suggest a freedom of choice and a path towards excitement and a life worth living. Christian Moris Müller (VIER FENSTER) wants to tickle out the viewer’s revolutionary spirit. His film is more of a thought exercise than a call for rebellion. He opts to show fragmentary images that show a couple falling out of line matched with esoteric imagery. A second perspective, lending this one-sided argument some impetus, is almost completely missing. While Steffen (Max Riemelt) and Katharina’s (Therese Scholze) conviction slowly forms and they begin to burn their belongings, their intellectual game blows out a whole lot of hot air. The question of re-inventing oneself and starting something anew only seems to mark time and the repetitive time loop visuals and blurred images are supported by overly-serious dialogue. The film’s intent is revealed at the end by the breaking of the fourth wall. There’s a chair on the bed, dollar bills flying in a loop, as Steffen looks straight into the camera for intensity’s sake. Like a friend of theirs says in the film: “So this is art, huh?”

Hardy Zaubitzer

Translation: Elinor Lewy