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Hans-Christian Schmid is probably one of BestenHeimatfilmer that German film industry currently has. Hardly one measures demort, on which he turns, so much importance, yes, makes this place self zumHauptdarsteller in his works. In Schmid’s first TV series DasVerschwinden, which is now on display in ARD Media Library and runs from 22 October Sunday evening after crime scene in first, a Bavarian small town is main protagonist.
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This place just before Czech border is so enchanting as desolate, as mysterious as it is biedermeier, so facades beautiful as come down. DieErwachsenen are illegally hunting in woods of neighbouring country, young shoot mselves with crystal meth. Then 19-jährigeJanine disappears. The abyss she leaves will devour some of her fellow human beings.
For four years Schmid and his experienced scriptwriter Bernd Lange have worked on fabric, implementation has always failed because of fact that re were no transmitting places in first for serial storytelling. Only daughter company Degeto had helped project to its high-class broadcasting station after Sunday evening thriller – and thus also made a realistic budget free. So disappearance plays in league of usual Scandi-noir-thrillers so far, and one can imagine that expectations of direction and screenplay were not very low. Suspense, gloom and above all: no crime scene.
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At beginning, Schmid is also a classic Krimiidee, a young girl disappears. Ihrealleinerziehende mor (Julia Jackson) and her two girlfriends Manu (Johanna Ingelfinger) and Laura (Saskia Rosendahl) Versuchenherauszufinden what happened. Is Janine (Elisa Schlott) just escaped from her narrow life? Did she kill herself? Or did she become a victim of a crime?
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The question of WHODUNITVERSCHWIMMT first behind social Panorama, which derRegisseur in its small town. The province, this is Schmid’s me, since he himself escaped her. The 52-year-old director comes ausAltötting, epitome of conservative, bigoted Bavaria. During his studies at Munich Film Academy, he filmed documentary The Mechanics of miracle about Denkommerzialisierten pilgrimage operation of his hometown.
What makes province so interesting for him? Schmid Lehntsich back in his desk chair and thinks. “There are nochunentdeckte angles re and correlations that may not be so clear in big city.” It was important to him to show Gegendnicht only from ir gloomy, ugly side, but also to illuminate IhreSchönheit. “During research I was in front of EinerAbiturklasse in Cham and asked students how to find ir homeland,” says Schmid. “One half said: It is beautiful beiuns, I come back after graduation. The or half said: Nothing Wieweg! “
Escape, displacement, deception
The conflict between generations is Schmidszweites big topic. Many of his films can be read as coming-of-age stories: After five in Jungle (1995), Crazy (2000), Requiem (2006). But while young people in his früherenFilmen were still actively rebelling, skinning, expressive, three girls stuck in disappearance. They live directly at DerGrenze, but come no furr, as if y were suffering from an invisible paralysis. Schmid’s series has its strongest moments whenever it comes to dieFreundschaft of se three young women who have just become age and who are derSchwelle to ir own lives, ir own responsibility. Yet all three fail in ir attempts.
There is much to escape, to displacement, to deception in DasVerschwinden and to disturbed relationship between children and ir parents. Schondie first scene shows that something is wrong with Michelle Grabowski its daughter. The mor is running a birthday cake full of brennenderKerzen in office where she suspects her daughter Janine. The colleagues look at her strangely, n says one thing: “She doesn’t work mehrhier.” Michelle laughs nervously and shakes her head: “It can’t be that dashätte you told me.”
Not only Janine leads a double life, also Laura Beklautihre seriously ill mor and a senior from neighborhood to finance ihreCrystal-meth addiction. Manu is also addicted, whose rich Elternsie repeatedly send to Switzerland for forced withdrawal. In a staggering scene, Manu’s mor (Nina Kunzendorf) closes her daughter with a bicycle lock on kitchen chair. Manu still skin, she has a a lot of crystal meth that she machenwill with her girlfriends for money. However, drugs have disappeared toger with Janine.
