Dreileben – Eine Minute Dunkel
©
Cycle de cinéma
Le 15 Septembre 2016
Horaires : 00:00
Horaires : 00:00
Cinéma/TV
Accra – Ghana
English
Frank Molesch, a psychiatric home inmate, has been convicted of a sex crime, though his guilt could never be proven beyond a reasonable doubt. He was captured on a surveillance video with the victim shortly before the crime took place. At the decisive moment, however, the video goes black, and the footage can’t be reconstructed: a coincidental technical glitch.
While paying a final visit to his dead mother at the hospital, Molesch manages to escape. He coincidentally discovers a hidden exit in the room, which enables him to break free. Like a hounded animal he now roams the area surrounding the town Dreileben, and hides in the woods. The police, headed by superintendent Marcus Keil (Eberhard Kirchberg), hunt him down like a wild animal.
But Molesch’s soul is not simply black, and tracing him through the dark, German forest is worth the effort. In the two other films of the trilogy, Molesch is merely a minor character. In “One Minute of Darkness” he takes centre stage. The fugitive criminal finds a temporary home in the Thuringian forest, echoing mythical German fairytales and operas. He even keeps company with a small girl at intervals, treating her with great care, as if he’d never had an evil thought in his life.
At first one hardly notices it, but Molesch is a lost man, obsessed with the ghosts of his past. His murders are cries for help, acts of self-defence, a rebellion against his fate, and yet unavoidably driven by rage.
Christoph Hochhäusler delivers the emotional core of the Dreileben trilogy with this psychogram of a man driven to the edge of society. It is a portrayal of the person who pulls the other protagonists’ strings in mysterious ways.
While paying a final visit to his dead mother at the hospital, Molesch manages to escape. He coincidentally discovers a hidden exit in the room, which enables him to break free. Like a hounded animal he now roams the area surrounding the town Dreileben, and hides in the woods. The police, headed by superintendent Marcus Keil (Eberhard Kirchberg), hunt him down like a wild animal.
But Molesch’s soul is not simply black, and tracing him through the dark, German forest is worth the effort. In the two other films of the trilogy, Molesch is merely a minor character. In “One Minute of Darkness” he takes centre stage. The fugitive criminal finds a temporary home in the Thuringian forest, echoing mythical German fairytales and operas. He even keeps company with a small girl at intervals, treating her with great care, as if he’d never had an evil thought in his life.
At first one hardly notices it, but Molesch is a lost man, obsessed with the ghosts of his past. His murders are cries for help, acts of self-defence, a rebellion against his fate, and yet unavoidably driven by rage.
Christoph Hochhäusler delivers the emotional core of the Dreileben trilogy with this psychogram of a man driven to the edge of society. It is a portrayal of the person who pulls the other protagonists’ strings in mysterious ways.
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