|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Ca. 100 min.|
|FSK:||From 12 years|
Money rules the world! At least that's how David (Godehard Giese), an ambitious banker's son, sees it. He and his wife Lena (Karin Hanczewski) want to spend their holidays in his family's holiday home on the French Atlantic coast. Matthias (Sebastian Fräsdorf) also spends the summer here with his girlfriend Camille (Alice Pehlivanyan) and her son Etienne (William Peiro). Unlike his brother, he chose Matthias for a much more relaxed lifestyle. Instead of working, he prefers to enjoy life, love and doing nothing. When David and Lena arrive a week earlier than planned, the two completely different worldviews collide after just a few minutes. Matthias has to move down from the spacious room on the upper floor into the small chamber and Etienne is sent to his father so that he does not disturb the new arrivals. While Matthias lets the bossy behavior endure, Camille's signs stand on confrontation. But the conflict is unleashed in a completely different way than it initially seems…
With his feature film debut "Im Sommer wohnt er unten" director Tom Sommerlatte seems to want to pay tribute to French cinema. This impression is not only created by the location on the French Atlantic coast, which immediately makes you want to go on holiday. Also the very subtle humor, the dialogue duels and the light pinch of fine eroticism spread a lot of French flair. The dramaturgy, on the other hand, is so universal that it doesn't necessarily suggest that the film is a German production. With a subtle power of observation, the filmmaker succeeds in extracting from everyday conflict situations a situation comedy that seems to be unimaginative and that repeatedly raises the entertainment value of the film.
This is countered by a very sustained narrative flow. Some scenes take a long time and thus rob the story of the verve that is achieved in other scenes through the dialogues and the play of the actors. Even though Sommerlatte succeeds very well in developing his characters and their story in a limited space, he seems to lose himself in his love for detail every now and then and thus unnecessarily slow down his narrative flow. This makes the staging a little bit bulky, which makes access to the story only possible for viewers with programming experience.
Beyond that, "Im Sommer wohnt er unten" is a pleasantly light-footed, interesting chamber play against a dreamlike backdrop, which at enough points testifies to the director's promising talent in order to console away isolated weaknesses. A real recommendation for all lovers of German and French arthouse cinema and for all those who want to escape the autumn grey for 90 minutes. Worth seeing
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