Is this Frankfurt "Tatort" just the first half of a two-party? Commissioner Janneke (Margarita Broich) does not hope for the frustrated colleague Paul Brix (Wolfram Koch): "It is over," she whispers to him in the final of Der Turm, while they both peer from the outside through the glass doors of the skyscraper and sign the informant inside. But he has long been uninterested.
The "tower" is a complete Christmas shock about the icy financial world of neoliberalism. It doesn't even come to the happy ending. A young woman was found crushed at the foot of a hermetic bank tower, half naked, with a plastic bag over her head; apparently after wild sex with several partners. Janneke takes pictures of a blurred silhouette on one of the windows and goes off alone, into the monster-filmed building.
Director and screenwriter Lars Henning ("Between the years") often lets us look at the overwhelming, dark thing with the dark windows eyes from the frog's perspective. An entire network of companies has its headquarters there and operates with money laundering, insider trading and the like, a surplus maximization that goes over dead bodies and tramples on moral demands anyway. Everyone plays together in the system's logic, including the refugee son, who has worked his way up to the well-paid IT miracle, and Seconda, who finances an elegant lifestyle as a revealing escort lady; until she dies.
Confusion in capitalism
In the confusing maze of anonymous corridors and rooms, staircase and lift Janneke are knocked down and end up with traumatic brain damage in the hospital. Brix tries to get two of the computer girls working inside the juggernaut. His superiors, on the other hand, have no great interest in enlightenment: why remain open.
In general, the blur of our opinion is a not so hidden motive Films. The head, which is adversely affected by grainy images and Jannekes, generates a lot of material about the subject of truth. The perpetrators remain unknown, the tower is impenetrable, and the company's lawyer (Katja Flint) sums it up gently: "You are only involved in something to achieve something completely different, and then you can't get out. First you don't want to go out anymore, so you can't get out. "This also applies to this" crime scene ", which actually has no proper plot and no dramaturgy, and uses stereotypes from nightmares to horror houses. Henning makes the format fascinating and bold on the left. (Tages-Anzeiger)
Posted: 26.12.2018, 21:44 clock