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

by

Everything kicks off with a single slap. Following a squabble at school, Marlene (Laeni Geiseler) unexpectedly acquires the knack to listen in on her parents’ private lives. Despite her wishes, she unconsciously picks up their activities at all times – an extraordinary (and extremely inconvenient) talent that throws off the peaceful mutual respect her family had been cultivating before this incident. It turns out that much of what Julia (Julia Jentsch) and Tobias (Felix Kramer) discuss around the kitchen table is not truthful, a subtle yet crucial detail skillfully unveiled by “What Marlene Discovers.

In most families, it’s typically the adults who are in control, watching over their children’s actions and selectively disclosing information. However, in the intriguing concept put forth by writer-director Frédéric Hambalek, this conventional dynamic is flipped on its head. Instead, a young girl mysteriously gains power over her parents, acting as their moral compass, confidant, and eventual reflection of their true natures. This story can be both amusing and unsettling, making it potentially appealing to audiences beyond Germany (where the film debuted in competition at the Berlin Film Festival). Despite some unresolved issues, Hambalek’s idea certainly has potential.

Imagine this: Could you ponder over a scenario where, upon sharing your day’s events with your child, they already knew every detail, even correcting the embellishments you added to make yourself look good? Would the respect and admiration you once held for you start to fade if they could see the imperfections and sometimes less-than-perfect decisions you made at work? Tobias dismisses Marielle‘s claims that a meeting at the office didn’t unfold as he described. Simultaneously, Julia holds back her words, fearing that her daughter must have observed her interaction with her flirtatious colleague Max (Mehmet Ateşçi) during their break for smokes.

Marielle might be feeling utterly swamped by everything, as Hambalek primarily explores the situation from the parents’ point of view, encouraging adults to ponder how they would react in similar circumstances. At first, Tobias, who initially discusses marketing strategies for his publishing firm, seems to weave such elaborate tales that he genuinely accepts his own fabrications and dismisses the truth when Marielle mirrors it back at him. Julia, aware of the situation, opts for caution due to unclear rules – a predicament we all share.

How does Marielle’s claimed telepathy function? Is she able to read her parents’ thoughts and emotions, or is she just overhearing their conversations? It isn’t until Julia and Tobias acknowledge Marielle’s assertions that things become intriguing, as they can no longer hide anything. Marielle has already exposed Julia’s secret smoking habit. What if she reveals details of her mother’s flirtatious talks with Max? Taking advantage of the situation, Tobias tries to set a good example by reenacting their earlier meeting, showing how he should have stood up to his ambitious colleague (played by Moritz Treuenfels), for Marielle. However, this only complicates things for him at work.

Off-screen, Hambalek employs a functional yet unspectacular approach, constructing believable settings such as sleek modern residences and cold corporate environments. He strategically positions the camera to capture the unease of his characters. Interestingly, the professional areas are marked by transparent glass walls, offering little solace for privacy, while home interiors are equipped with numerous doors and cozy nooks, as if intentionally designed to hinder smooth conversations.

It’s intriguing to contemplate how an American remake could rework this concept, considering the numerous “Freaky Friday”-like body-swap movies Disney once produced. Unlike Hollywood studios, known for simplifying content to a 13-year-old level, Hambalek’s German version maintains its strength by not shying away from awkward moments, such as when Julia and Tobias openly discuss Julia’s feelings for Max, which might otherwise be glossed over in American productions.

The film could’ve benefited from a bit more clarity regarding the implications of Marielle’s ability, rather than its origin. This confusion arises as some adult actions to control it seem illogical. For instance, it’s comical when adults switch to French to secretly converse… but wouldn’t that be ineffective if Marielle can sense their emotions? If she indeed can, then there are numerous things that most parents wouldn’t discuss with their teenage children, which Marielle now understands.

Even so, it’s entertaining to observe how each character navigates unknown grounds, compelled to confront common deceits and hypocrisies. Jentsch (portraying a character reminiscent of Germany’s Blanche Gardin or Janeane Garofalo) effectively expresses Julia’s insecurities through close-ups, while Geiseler remains enigmatic throughout. Marielle is often seen crying, but it’s unclear what she’s feeling or how much she understands – precisely. The film frequently returns to the girl’s face, suggesting her newfound godlike power over her parents. It seems that the girl’s ability/burden has shattered numerous illusions this family held onto, although Hambalek chooses a poignant truth for the final scene.

Read More

2025-02-17 22:47