To the horizon, then left

There is cultivated boredom in the retirement home Abendstern. Here, of all places, as movement therapy is one of the exciting highlights of the day, Annegret (Angelica Domröse) is to spend her twilight years. Tiedgen (Otto Sander), who doesn't care much for life in the retirement home either, can understand very well why his new roommate acts grumpy and withdrawn. But he has an idea how to bring some excitement and variety into the grey everyday life of Annegret and the other residents. When they are invited to a sightseeing flight in an old propeller plane, Tiedgen hijacks the plane without further ado and forces the pilot Schlepper (Tilo Prückner) to take the senior group to the sea. Despite vehement protests from the accompanying sister Amelie (Anna-Maria Mühe) and the grouchy Herbert Miesbach (Herbert Feuerstein), the troupe decides to play along with Tiedgen's hijacking plan. And so begins their adventurous trip to the horizon, then left...

To the horizon, then left is built on a very nice basic idea. That a group of senior citizens won't let society push them to the sidelines and take back control of their lives for a brief moment, bringing joy and sunshine back into a grey, dreary daily routine is a really nice idea. Unfortunately, the realization has not turned out as engaging as the story would lead one to hope.

From the very beginning, director Bernd Böhlich (Du bist nicht allein) makes use of too many clichés, which is especially noticeable in a negative way when it comes to the character of Annegret. Sure, it's more than understandable that she doesn't want to be shunted off to a retirement home, that she's disappointed by her son and afraid of spending her last years in an environment where she doesn't feel comfortable, let alone at home. However, her constantly suffering mine, supported by morbid sarcasm, does not reveal a proud woman, but a person consumed by self-pity, who in the long run is not necessarily sympathetic to the audience. Other characters, such as Tiedgen, who is very well portrayed by Otto Sander, or Ralf Wolter's Willy Stronz, have a much larger projection surface for the viewers' sympathies. And even if they are also drawn quite clichéd, these clichés at least still have a certain positive charisma, which also transfers well to the audience.

Next to a completely unnecessary (implied) romance between sister Amelie and the young co-pilot Wednesday (Robert Stadelober), the story does have small highlights and amusing, but also moving moments again and again. But these can never be fully played out, as the last act in particular comes across as badly rushed in order to fit into the TV-friendly time slot of 90 minutes. The wonderful ensemble of actors Böhlich has assembled here for his very special senior citizens outing truly deserved more time to really shine on screen.

It's not nice to have to write so negatively about a film that in itself has its heart in the right place, that has a beautiful initial idea and wonderful actors. But since this potential has only been used to such a limited extent and the film doesn't leave you with the blissful feeling of pure joy of life at the end, which should actually be inherent in the story, a clear recommendation for this film can't be given from my side. Because especially lately there were clearly more beautiful movies for the target group 50+. Therefore, if you don't mind the clichés, the somewhat rushed staging at the end and the only too rarely sparkling humor, you will feel well entertained because of the definitely existing positive aspects. But those expecting a warm-hearted comedy of a very special kind might experience an arguably bumpy landing with the flight To the horizon, then left.

An article by Frankfurt-Tipp