|The Frankfurt-Tipp rating:|
|Direction:||Margarethe von Trotta|
|Production country:||Deutschland 2015|
|Running time:||Ca. 101 min.|
|Rated:||From 0 years]|
The singer Sophie (Katja Riemann) is not badly surprised when her father (Matthias Habich) shows her a picture of the American opera diva Caterina Fabiani (Barbara Sukowa), who looks very similar to her recently deceased mother. When he asks her to travel to New York to make contact with Caterina, Sophie reluctantly agrees, believing that her father had gotten himself lost in his grief. But when she meets the celebrated artist in New York and meets her with extreme rejection, Sophie begins to suspect that the similarity may not be a coincidence after all. A visit to Caterina's mother (Karin Dor) actually uncovers a long hidden family secret. But she doesn't yet know what extent this actually has...
With "The Lost World" Margarethe von Trotta has staged a very personal film in two respects. On the one hand she brought two actresses together in front of the camera for the first time, whom she appreciates personally and professionally. And since both women, Katja Riemann and Barbara Sukowa, also share a passion for music, von Trotta incorporated this into the film and gave the actresses' musical skills room to unfold. This is to be understood more as a homage to Riemann and Sukowa and plays only a minor role in the story itself. As a viewer you also notice this, because the vocal parts seem to be integrated into the events in a somewhat troubled way and additionally slow down the already slow narrative flow. But this is only a small flaw in an otherwise very well done film.
The second aspect that makes "The Lost World" such a personal work is the personal background of Trottas, who has had a strong influence on the story. After the death of her mother, the filmmaker was contacted by a woman who turned out to be her sister and whose existence Margarethe von Trotta had not known about until then. At a first meeting, the clear resemblance between the previously unknown woman and her mother became clear - just as it is the case with Caterina in the film.
This personal closeness to the story is positive for the film in every respect. The staging is sensitive, but at the same time very stirring. The emotional level of the action is delicately elaborated, without being too bold or too intellectual. One notices that something is told here that was close to the director's heart, where it wasn't about doing justice to a historical person, as in "Hannah Arendt" or "Vision", but about processing something very personal. The result is a very nice, very well played and atmospherically dense drama, which has some small lengths here and there, but is clearly one of the stronger films of Margarethe von Trotta. And for all lovers of sophisticated entertainment cinema from Germany there is a very clear one: Worth seeing!
An article by Frankfurt-Tipp