Wolfsburg (2003)
Wolfsburg (2003)
DVD9 (Custom) | VIDEO_TS | PAL 16:9 | 01:26:51 | 5,68 Gb
Audio: German AC3 2.0 @ 192 Kbps | Subs: English (added)
Genre: Drama
DVD9 (Custom) | VIDEO_TS | PAL 16:9 | 01:26:51 | 5,68 Gb
Audio: German AC3 2.0 @ 192 Kbps | Subs: English (added)
Genre: Drama
Philipp Gerber is a smart, but self-satisfied car salesman. In an inattentive moment at the wheel of his car, he runs over a biker and drives away. As he has feelings of guilt, he tries to find out more about the accident's victim and learns that the boy lies seriously injured in a hospital. Philipp wants to tell his mother Laura Reiser the truth, but he doesn't. After a carefree holiday with his girlfriend Katja, he learns that the boy is dead. Meanwhile, Laura staggers between grief and the desire for revenge. One evening, she can't bear it any more and jumps off a bridge, but Philipp saves her life…
IMDB
Philipp (Fuermann) is a successful car salesman in his early 40s in Wolfsburg, northern Germany. He has all the trappings of success: a neat auto and home, a beautiful fiancée, Katja (Antje Westermann), and a fashionable amount of stress. However, Katja is beginning to doubt his commitment to her, and his boss is her brother, Klaus (Stephan Kampwirth), who reckons he's a cocky arriviste.
Wolfsburg (2003)
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Taking a short cut through the countryside one day in his car, Philipp has an argument with Katja over the phone and accidentally knocks a boy (Martin Mueseler) off his bike. He hesitates whether to get out and call for help, but simply drives on. At home, Katja also hesitates over walking out on Philipp, but decides to give their relationship one more shot. For the time being, at least, life goes on as before.
Meanwhile, the boy's devoted single mother, Laura (Hoss), stuck in a tedious warehouse job where she pilfers occasional goods, is alerted by the police that her son is in hospital in a coma. He later wakes up but, while Philipp is still trying to patch up his relationship with Katja, the kid finally dies.
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With the center of her life now gone, Laura decides to find the person responsible for her son's death and, going on a clue from the police as to the make and color of the hit-and-run car, finds the dented wing that Philipp hid in a scrap yard. However, the evidence is practically useless in tracing the owner, as Philipp usually drives his company car, which is a completely different make.
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The two meet by chance when she's on the edge of despair, and a cautious relationship grows between them, with Philipp clandestinely helping her to find a better job. Laura still doesn't realize she's dating her son's killer, and once again it looks as if Philipp has just about managed to hold the threads of his life together. But then a small slip sets off a fatal chain of events.
Wolfsburg (2003)
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Similar to "State," though less so than in "Something," Petzold mixes light thriller elements into a largely metaphysical story that at times recalls Claude Sautet's 1970 classic "The Things of Life," especially in the way that a chance event ricochets through people's lives and exposes buried mistakes or traumas. When the film's first real moment of tenderness enters late on – in an interlude affectingly underscored by Stephan Will's music – the viewer has reached the point of almost wishing, despite everything, that the mutually beneficial relationship should succeed.
Wolfsburg (2003)
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Aside from Petzold's well-worked script, much of the picture's success belongs to the performances by Fuermann and Hoss. The former, much more buttoned down than usual, manages the transition from calculating yuppie to guilt-riven convert with the minimum of resources. As the young single mom, Hoss is both charismatic and moving. Other thesps are fine, with Kampwirth notable as Philipp's simmeringly hostile boss.
Wolfsburg (2003)
Wolfsburg (2003) is a threadbare variation on a familiar suspense hook where a man covers his identity in order to involve himself in the life of the woman he’s victimized. In this case, the story involves the death of a woman’s child, and although the ‘accidental killer’ attempts to make good by confessing his identity, a minor event disrupts his plan, and he finds himself in the odd position of being able to console and support the woman without her ever suspecting his horrible deed.
Wolfsburg (2003)
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In a traditional noir thriller, as well as a modern Hollywood production, this entire prelude to deception would’ve been done with during the first act, and the focus would’ve been on the tension as an investigation (by the police, the mother, or a private detective) that ultimately catches up with the killer just as the mother’s reached a moment of inner peace with her new companion. The unmasking would lead to an exchange of rage, some physical violence and/or possibly revenge, with the killer finally receiving some justice exacted by the mother, or via the police and/or the justice system.
Wolfsburg (2003)
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One can also imagine, quite easily, how Japanese director Takashi Miike (Audition)would’ve had the mother practice methodical, sadistic revenge on the killer, with nasty torture dragged out in slow-peeling montages; or South Korean director Chan-wook Park (Oldboy) fixating entirely on an extravagantly complicated revenge plot, which perhaps would have the mother seducing and ensnaring her son’s killer before she unmasks herself and explains how every rotten moment of the past ten years was planned by her soon after she learned of his identity.
Wolfsburg (2003)
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Petzold’s approach to the storyline is a unique distillation of the essential Hollywood plot steps – all adhered to quite faithfully – but with a delicate emphasis on intimate character conflicts (internal, and within their own crumbling lives), and contrasted by the chilly outer industrial world in which they live.
Wolfsburg (2003)
Special Features (in German w/o subs):
- Interview with Christian Petzold
- Audio Commentary
- Biography
- Photogallery
- Trailers
Many Thanks to EceAyhan (DVD) and gbigbi (Subs).
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