"Ostfriesenblut", ZDF: The murderer is waiting outside the door

adminDecember 29, 2018




It's a bit of a paradox: in times when the world out there seems to have become more dangerous, Germans use their holiday in Germany. And like reading thrillers from their vacation region, where murder is made the best of their ability. For example, Ostfriesland had to be almost extinct now, even though the many "Frisian" and "coastal strands" would come close to reality.

The pioneer in this branch was the author Klaus-Peter Wolf, who had previously come out with youth books and socially critical novels. In 2007 he succeeded with "Ostfriesenkiller" a bestseller. Since then, he has continuously updated the story of his investigator Ann Kathrin Klaasen. And many imitators inspired – now it is Friesenkrimis, as far as the eye can see. And in Friesland it goes very far.

Murder of an old lady

ZDF has been serving the demand since 2013 with the cheerful series "Friesland". In addition, the transmitter had secured the rights to Wolfs Ostfriesland's cycle. In April 2017, the series started with "Ostfriesenkiller", a recognizable ambitious and in contrast to "Friesland" several sinister companies. For the following second film "Ostfriesenblut", the script and the director's team were replaced and replaced by Peter Heinrich Brix in the role of head of Ubbo Heide of Kai Maertens, whose representation but the fictional character remains largely faithful.

Again, the focus is on Commissioner Ann Kathrin Klaasen, whom Christiane Paul excels. At the beginning of the cycle, her family went into crisis when her husband Hero Klaasen (Andreas Pietschmann) announced the breakup, moved to her boyfriend and took Eike (Alexis Salsali), the son of the broken relationship, to the new home.

In his novels, Klaus-Peter Wolf Kathrin Klaasen tells his private life in continued chapters that inevitably come together with the thriller story. She is currently very concerned about son Eike's school uniform. Perhaps a consequence of the broken family conditions. Furthermore, Ann Kathrin Klaasen is concerned about her father's violent death. He was also a policeman and was killed in service. The Klaasen is plagued by the idea of ​​continuing to seize the killer who has never been identified.

But these private surveys belong to Nebensträngen. Currently, the commissioner is dealing with the murder of an old lady. The public knows the perpetrator right from the start and knows that this Thomas Hagemann (Jörg Schüttauf) is going to work with great cruelty. The reason for this and the motive for further actions can be found in their past.

Klaasen is particularly involved in the case. Hagemann has seen her as an interview partner on television – ZDF presenter Rudi Cerne delivers a guest appearance on the short scene – and feels connected. He is closer to her than she sees, diverging in the delusion of acting in her senses.

Author Nils-Morten Osburg and director Rick Ostermann resist the temptation to portray the violence a lot. A speculative, not uncommonly ridiculously exaggerated design, cultivated in the so-called "Nordic Noir" and its epigones – the Grand Guignol series "Parfum", which is also responsible for ZDF, would have discussed the actual story as a single dramaturgical trick: Hagemann, The ruthless perpetrator is a victim of the "black pedagogy" of the 50s. He was mentally and physically abused by teachers and peers. Now that he has cancer and expects death, he seeks to cast off this old burden. He does what he has learned as a child: with power.

For example, Ann Kathrin Klaasen and her colleague Frank Weller (Christian Erdmann) sleep for the first time to see how much an undiminished narrative promotes, rather than inhibiting inner tension. Director Rick Ostermann retains self-restraint, leaves it by the overture and then blinds to secret witness Hagemann, who follows the on-screen events of the monitoring system. How does the unpredictable violent offender react?

As in this sequence, the direction often focuses on appearance and atmosphere. Ann Kathrin Klaasen can sit in minutes and sit down on the victim and you can still see spellbound. In dialogical passages, the scene change does not necessarily occur with the last syllable; Often the camera is still on the faces, if everything seems to be said. The result is density and intimacy and thus proximity to the viewer, as a constant high frequency vortex of optical attractions cannot offer.



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