As a movie critic with a strong appreciation for European cinema and a particular fondness for directors who push boundaries and challenge conventional genres, I am eagerly anticipating the release of Christoph Hochhäusler’s latest film, “Death Will Come.” Having followed his career since his critically acclaimed “Till The End of The Night,” premiered at the 2023 Berlin Film Festival, I have come to admire Hochhäusler’s unique storytelling style and his ability to breathe new life into familiar genres.
2023 will see the release of “Death Will Come,” a new film from renowned German director Christoph Hochhäusler, best known for “Till The End of The Night.” This upcoming crime drama is set to premiere at the Locarno Film Festival and was produced in collaboration with Heimatfilm, Amour Fou Luxembourg, and Tarantula.
As a dedicated cinema enthusiast, I recently immersed myself in an intriguing film, “True Colors of Italy,” where I followed the gripping journey of Sophie Verbeeck’s character, Tez – a skilled hitwoman. In this movie, Tez is assigned to exact revenge for the slain courier of a crime boss, a role masterfully portrayed by Louis-Do de Lencquesaing. However, as the story unfolds, it becomes evident that the motives behind the boss’s request are more complex and layered than they initially appear.
Tez continues to be a puzzle, and her backstory barely scratches the surface of what drives her actions at work. According to Hochhäusler, this ambiguity is deliberate. “I think the audience needs to connect with the character,” he explained. “As an audience member, I’m often willing to put in more effort if there’s still a lot unknown about a character.” He emphasized the importance of striking a balance between revealing and keeping secrets in storytelling.
“Tez is different from my past characters as she delves deeper into fantasy. Sophie Verbeeck manages to give her a touch of authenticity, allowing us to connect with her as a believable character despite her mythical qualities. I’m drawn to the mystery surrounding her and I believe the audience will be as well.”
1. “This movie strays from the usual glitz and brutality found in crime movies, opting instead to delve into the pressures and consequences of a life in crime. As for genre films, they have a knack for challenging our perspective on reality. The gangster genre, in particular, is constantly wrestling between the extraordinary and the ordinary. Reflecting on this, he said, ‘Genre cinema is remarkable because it consistently redefines our understanding of reality. Gangster movies, for instance, are always balancing larger-than-life elements with authentic portrayals.’ In the 1930s, gangster films produced by Warner Bros. were known for their grittiness and realism. Simultaneously, these films were highly stylized, bordering on operatic—a gritty, dramatic style. Consider James Cagney in ‘Public Enemy’ (1931) directed by William Wellman or ‘The Roaring Twenties’ (1939) by Raoul Walsh.”
The director’s fondness for New Hollywood’s shift in balance is evident. He holds films such as “The Long Goodbye” by Robert Altman starring Elliot Gould, Dustin Hoffman in “Straight Time” (directed by Ulu Grosbard), and Michael Mann’s “Thief” from the 1980s in high regard. He mentioned, “In our own ways, we made attempts to do something similar. Tez doesn’t purchase cat food (like Elliot Gould), but instead allows the kidnapped gangster to consume gluten-free.”
His collaboration with novelist Ulrich Peltzer, a frequent writing partner, continues to evolve. This time, they wrote in one go during a work holiday near Cologne, starting with a different story idea and allowing Tez’s character to guide the narrative. “It is a lot of fun to write with Ulrich, never routine,” he noted.
Critics often give a common name, or label, to a group of new directors working in the same field at once, and who share similar traits. The “Berlin School” was the nickname given to Hochhäusler, along with directors like Angela Schanelec and Christian Petzold.
As a fervent admirer, I’d like to express that the Berlin School label, initially coined by critics, doesn’t fully capture the vast array of styles within this eclectic collective. This group has always been more diverse than its reputation suggests. Meanwhile, his creative journey is steered towards a raw, unconventional cinema, where self-discovery and shock value are key elements.
Brussels, with its unique ambiance, was always envisioned as the perfect setting for his “semi-glamorous” crime story. “I fell in love with Brussels when I first visited the city, and immediately wanted to make a film there. This film would not exist without the strange beauty of this town,” he explained. “I really like Brussels’ contrasts, the architecture, the dirt under the nails. I’d love to return for a film set in the world of European politics.”
“Death Will Come” premieres in competition at Locarno on Aug. 8.
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2024-07-30 16:46