‘What Marielle Knew’ Review: What Would You Do If Your Daughter Could Suddenly Read Your Mind?

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Everything begins with a single slap, triggering an unexpected development in Marielle (Laeni Geiseler). Without her conscious control, she gains the ability to overhear everything happening in her parents’ lives. This unwanted gift causes chaos and disrupts the mutual respect that had previously been maintained within the family. It turns out that much of what Julia (Julia Jentsch) and Tobias (Felix Kramer) share during their kitchen conversations isn’t accurate, a crucial truth unveiled by “What Marielle Knew.

In most families, it’s generally the adults who hold the power, watching over their children’s actions and deciding what information to disclose. However, in the unique perspective of writer-director Frédéric Hambalek’s thought-provoking film, this relationship is flipped on its head. Here, a young girl unexpectedly takes control, becoming a moral compass, confidante, and a reflection of her parents’ true identities. At times amusing and at others unsettling, this concept has the potential to resonate globally, despite some minor unresolved issues in the film (which premiered in competition at the Berlin Film Festival in Germany).

Imagine this: Could you ponder over the situation where, upon recounting your day, your child already knew every detail, even correcting parts you’d embellished to make yourself appear more competent? If they could see the less-than-perfect decisions you’ve made at work and the occasional blunders, would the respect they had for you as a hero diminish? In this scenario, Tobias denies everything when Marielle contradicts his version of an office meeting. As for Julia, she holds her tongue, anxious that her daughter must have caught a glimpse of her friendly conversation with co-worker Max (Mehmet Ateşçi) during their smoke break.

Marielle is undoubtedly feeling overpowered by everything happening, while Hambalek primarily explores the parents’ viewpoint, encouraging adults to ponder their reactions in a similar situation. Tobias, initially portrayed discussing marketing tactics for his publishing firm, becomes so engrossed in twisting facts that he genuinely accepts his fabrications and dismisses Marielle’s truth when she mirrors it back. Julia is more cautious due to the ambiguity of the rules, which also leaves us uncertain – just like her.

What exactly is this supposed telepathy ability? Does Marielle tap into her parents’ thoughts and emotions, or does she just overhear their conversations? It’s only when Julia and Tobias acknowledge Marielle’s claims that the story becomes intriguing, as they have nothing to hide. Marielle has already exposed Julia’s secret smoking habit. What if she reveals details about her mom’s flirty exchanges with Max? Taking advantage of the situation, Tobias tries to set a good example by reenacting their earlier encounter in a more assertive way (confronting an ambitious coworker, portrayed by Moritz Treuenfels) for Marielle. Unfortunately, this only complicates things further at work for him.

Off-screen, Hambalek employs a functional yet unremarkable filmmaking style, constructing convincing sets such as sleek modern homes and sterile office environments, and strategically positioning the camera to capture his characters’ unease. Interestingly, these professional spaces are characterized by transparent walls that limit privacy, while home settings offer numerous doors and quiet nooks, seemingly designed to hinder free dialogue.

It’s intriguing to ponder how an American adaptation might handle this concept, considering the body-swap movies Disney was known for in the past like “Freaky Friday.” Unlike Hollywood productions which often simplify content to appeal to 13-year-olds, Hambalek’s German version is unique because it doesn’t avoid awkward moments, such as when Julia and Tobias openly discuss Julia’s feelings for Max.

The film could’ve benefited from a little more clarity on the specifics of Marielle’s ability and its implications, as the ways the adults handle it sometimes seem illogical. For instance, it’s funny to see the adults converse in French when trying to keep secrets… but wouldn’t that strategy work if Marielle can sense their emotions? And if she indeed does, then there are many things parents might be reluctant to disclose to their teenagers that Marielle is now privy to.

The characters in this movie explore uncharted grounds, facing everyday lies and hypocrisies head-on. Jentsch, similar to Germany’s equivalent of Blanche Gardin or Janeane Garofalo, effectively portrays Julia’s inner turmoil through close-ups. Meanwhile, Geiseler remains a mystery, maintaining an air of secrecy throughout the film. Marielle is often seen crying, but it’s unclear what she’s feeling or how much she understands – exactly. The movie frequently returns to the girl’s face, emphasizing her newfound power over her parents, which seems to have broken many of their illusions. However, Hambalek chooses a profound truth to conclude the story.

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2025-02-17 21:46