Das Herz ist ein dunkler Wald

Nicolette Krebitz is best known as an actress ("Bandits")and gave her debut as director with "Jeans", a film about the new, trendy Berlin after the reunification.It was part of a whole wave of similar films and didn't make a big impression on me.So I was positively surprised by her new directorial work with the highly romantic and obscure title "Das Herz ist ein dunkler Wald".It is a daring try, albeit not satisfying as a whole.The film is an odd mixture of "Berliner Schule" realism,theatre-like scenes on a bare stage depicting typical moments in a relationship and surreal scenes of a masked ball in a sort of palace,modelled clearly on "Eyes wide shut".The picture takes a bitter stock of today's gender relations and poses some uncomfortable questions.It treats the everlasting battle between the sexes, the moral of the German average middle class and deconstructs all preached ideas of a "new motherlihood".Not only in the teaming of Nina Hoss and Devid Striesow there are parallels to the brilliant "Yella",but also in that both films tell you more about the German society of today than many so called critical films.As in "Yella" the biggest attraction is the face of Nina Hoss, which reflects the abyss of despair and loss.In every scene you feel the will of the director to produce "art" and not all the parts get together well,but as a resume I would say: After "Jeans" I wasn't awaiting a new picture by Krebitz as a director with a curious anticipation, but after "Der Wald..." I am.What more could you say about a film?

The film is excellent, and reveals the world of relationship seen by a woman, just that, seen the world and relationship differently as seen by a man, owner of the universe, who treats women as inferior, not equals. I could identify myself very well with Marie and her feelings, and admire the director for giving expression to a real woman inner situation, very difficult for men to understand, if we don't get into the woman's shoes. I was remembered of the first feminists like Grete Meisel-Hess 1909, and her critics to the male dominance in society. Little has changed since then.This film is tough, still has women to accept, rebel or fight or resign to her position as objects of the men, not respected at all.

Pretty dark it seems. There is nothing in her previous work to prepare us for a family drama of this scale, neither in her acting track record nor in "Jeans", her laid back and somewhat self-centered 2001 directorial debut. In captivating images of growing surrealism, inter-cut with "Dogville"-type flashbacks on a barren stage, we learn of a husband's careless betrayal and its dire consequences. Highlights include a memorable guest appearance by Otto Sander in the part of the arsonist, amounting to less than one on-screen minute in a total of three scenes, as well as the last temptation of art world infant terrible Jonathan Meese in the part of Jesus himself. If you have seen Christian Petzold's "Yella", this movie may have a somewhat "déjà vu" feel to it. Not only does Krebitz share Petzold's lead actors Nina Hoss and Devid Striesow. There are also common themes such as betrayal and illusion. Even some of the sets reminded me of "Yella", especially the red brick house. I don't know whether any of this is intentional though.