joined as a child me with the words of my narrow home a love-hate. I was fascinated by these stories, while never free of the fear that actually romp around the house the night Sträggele or could hunt on the heights of the Lindenberg of Stiefeliryter . Of growing up that fear is gone, fortunately, but the fascination remains, and perhaps become even stronger. In any case, I think today more clearly, why tell the reader or listener to pack respond so immediately and: they namely the uncanny and the injustice in the theoretical, merely felt the field bring to reality and to experience them directly. There are in Tell the world an overarching logic, a sense of connection between cause and retribution. The malaise that has afflicted every right-thinking when he learns of injustice infects here often in a terrible consequence to those who caused it. Say are as it were an attempt by the popular tradition, the real existing imbalance between offenders and victims somehow to get a balance.
And so we have arrived in the analysis of Sennentuntschis . Exemplary in this story of a female doll, which crafted a few herdsmen for entertainment and engine derivative, then life is terrible and the end of this done to her revenge, negotiated crime and punishment. Director Michael Steiner has Sennentuntschi brought to the cinema and given him a sympathetic twist: It tells the story as a thriller. In a small village in the Grisons mountains of the sacristan of the church bell is found dangling, but buried nonetheless in consecrated ground - and as the funeral procession winds through the narrow streets appear, behind a corner suddenly a beautiful young woman, disheveled hair, makeshift dressed and totally exhausted. The young village policeman takes care of the strange, speechless creature, but in the whole place seems to be the only one who is not either with disgust, Panic or contempt to the opinion. Woven into the events in the village and in the lowlands is becoming the pre-history on the mountain, high up in a sinister yet uncannily beautiful and distant from civilization parallel world, also take in thirty years back distant memories of growing anxiety at. The plot is designed masterfully evokes a horror movie soon, soon the day's date, but never as an end in itself: the story always remains precisely in focus and their various and often interwoven strands together with a sure hand in a narrative.
Steiner refers to the old legend new, powerful images - so that seemingly endless, steep scree slope that separates the Alps from the rest of the world, or the extreme focus shifts in the credits. And he's not been around it, commit to his shot on Swiss-German film, the usual suspects on camera, but the figures follows precisely occupied, that the whole is never degenerate to the reunion, but reality is oppressive. The praise and the criticism largely effusive for the movie are absolutely deserved. pity that all details would be if: The short frame story is actually unnecessary, and the dialogues are particularly effective in the first part a little fussing. Especially at the end of the film is, however, on top form. And when everything lies open, he dismisses us with the shocking banal insight that it takes for evil neither devil nor demons: these people we meet with our prejudices, our evil intentions, and our simple clumsiness very easily yourself.
Technicals: The Sennentuntschi ran into the Swiss-German cinemas for weeks until Christmas, but now no more, and here in the West, I have not seen it yet announced. If you missed the movie, so well have to wait for the DVD. I'll say again, it's worth it. What I must say: This film is not light fare, but goes with his harrowing story and the dramatic images to the quite mind.
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