Klandestin
あらすじ
No synopsis available.
作品考察・見どころ
AIが作品の魅力を深く読み解いています
スタッフ・制作会社
音楽: Freya Arde
制作: Martina Haubrich / Claudia Schroeter
撮影監督: Florian Foest
制作会社: CALA Filmproduktion / HR / ARTE
No synopsis available.
AIが作品の魅力を深く読み解いています
音楽: Freya Arde
制作: Martina Haubrich / Claudia Schroeter
撮影監督: Florian Foest
制作会社: CALA Filmproduktion / HR / ARTE
Movies that tell the same story from multiple standpoints are among my personal favorites. With each retelling, new information is revealed that, when considered collectively, provides viewers with an intriguing tale, almost as if it were a case of putting together the pieces of a puzzle. And that’s precisely what writer-director Angelina Maccarone has expertly accomplished in her latest feature, a thriller told from the perspectives of four characters set against the backdrop of a terrorist bombing in the heart of Frankfurt’s financial district, an incident that hangs over all of them despite not having anything directly to do with any of them. The picture follows the experiences of a young Moroccan refugee (Habib Adda) seeking a better life in Europe who’s unwittingly illegally smuggled onto the continent from Tangiers by his would-be lover (Lambert Wilson), a renowned English painter getting ready for a gallery opening in Frankfurt. As this unexpected, clandestine episode unfolds, the artist seeks the discreet help of his longtime friend, a powerful, influential, and often-cold and roundly disliked conservative German politician (Barbara Sukowa), and her savvy executive aide (Banafshe Hourmazdi), the German-born daughter of Moroccan immigrant parents who’s an expert in European Union law. Their individual stories are presented in chapters devoted to each of them, with a concluding sequence that ties them all together. The film’s masterfully penned screenplay keeps viewers on their toes as the narrative unfolds, leaving us riveted and wondering how events will ultimately play out, particularly the impact that the outcome will have on each of them and a host of supporting players in the shadow of the larger story that has all of Frankfurt on edge. That’s true on multiple levels, too, given that revelation of the picture’s often-public ramifications are driven by highly personal concerns relating to interpersonal affairs, national and ancestral identity, political clout, sexual orientation, and various other considerations, making for complex, multidimensional characters who are effectively brought to life by this offering’s superb ensemble cast. “Turning Tables” is a genuine knock-out, one on par with any of the best thrillers produced by major Hollywood studios and clearly illustrating that many of the contemporary challenges faced by Europeans aren’t all that different from what many of us might like to think of as purely American concerns. Give this one a look, and don’t be surprised if it takes your breath away.
