Home Breaking I'm still alive, I'm to blame

I'm still alive, I'm to blame

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It's a shit. The girl is standing in tunnel where her life has been transformed on July 24, 2010. There were 45,000 people here in Duisburg on ramp, y were in midst of m and wanted to go to love parade. Six people on a square meter.

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13 women, eight men died in crowds, dead, crushed, she still hears screams, sees pictures. Nearly 700 people were injured in a life-threatening way. The tunnel has a memorial. The girl, 24 years old, has since raged.

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Candles, sign with inscription "Why?" Taken on teddy bears. "Those who are dead," she says, "are good ones, oh so wonderful, around whom all can mourn. Those who have survived, we are casualties, assholes, who do not get anything on line. "

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"The life after" is story of woman, who has remained a girl, directed by Nicole Weegmann for WDR. A girl who, like an open knife, is like a flesh-thrown accusation against everyone, and above all herself. Through Duisburg runs this broken, strangely beautiful city that looks like soul of this Antonia Schneider must feel.

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Eva and Volker A. Zahn invented story of Toni Schneider on basis of hundreds of conversations with survivors, families, friends, fates. Jella Haase finally smashes last remnants of chantal with which she became famous in "Fack ju Göhte" films.

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With Carlo Ljubek, who is gradually becoming a specialist for destroyed fars in broken families, she provides herself with an intense and very beautiful competition in sadness. Looks are halter lines, resting points in this ever-violent history.

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Ljubek is Sascha Reinhardt. He drives a taxi, films his passengers. He sums up people, he tells Toni times when she sees films. He has been alone for seven years. House in an improv flat.

n "I was not good enough "

He was a mamatician. "I was not good enough." Toni says he was re in July 2010. He was, too. But different. He wrote an expert report. That everything would go well was re. But did not stop.

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He left his family n, unlike those who are finally in court in December, drew consequences for mselves. Sascha is a living debt complex. One who seeks salvation. One like Toni.

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She had little bror of her best friend. Because she was a bit spoiled day, two arrived late at tunnel. Then Luke was gone. Then he was dead.

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That Toni and Sascha get dressed, one immediately understands. That actually can not go well also. For fact that Toni's story is from moment she is leader of her self-help group, what Sascha really is, is a single amok run, Nicole Weegmann is actually tackled with Samthandschuhen.

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"The life after" is not an investigation committee, no process. In Weegmann's film, unlike in committees and processes, victims are focus, and what catastrophes like those in Duisburg make with survivors and with those who live with survivors.

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As if by way, Toni rushed past those, re were more than half a dozen who took ir lives after misfortune, that y could just save. Through Toni's family, who can no longer endure life with an incurable split fungus. Through Sasha's family, which is plagued by this painful condition, and which is also toned by Toni.

nA deeply human film n

With all terrible things that Sasha and Toni carry in m, which encounters m in flashbacks and a few documentary scenes without any sensational greed, are always shown as nightmares, with all of this "life after" remains a deeply human film.

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One that is obviously close to everyday life. Alive. And sad. And one does not let go.

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"Life after": ARD, September 27, 8.15 pm

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