Social Man
A young female journalist getting over the death of her grandmother while investigating a story strangely close to home about a female concentration camp guard. Seven and a half years after the fall o…
Social Man
A young female journalist getting over the death of her grandmother while investigating a story strangely close to home about a female concentration camp guard. Seven and a half years after the fall of the Berlin Wall. The year the world learned of the existence of the cloned sheep "Dolly." The year Johanna's grandmother died. Johanna's soul raged. No matter what she did, it was wrong. Suddenly, it was wrong to tell her uncle, who was trying to steal her fortune, off at her grandmother's funeral. Why did her mother send her to attend and stay away herself? Now she's the bad daughter again. Johanna's mother knows how to deflect attention from herself and onto others. Johanna doesn't give herself time, neither to grieve nor to find peace. Torn between ambivalent feelings between self-deprecation and the desire for recognition, she worked herself to pieces both privately and at work as a better intern, mostly hidden behind her camera. When she got her hands on the original photo of a concentration camp guard, she seized the opportunity and got on the nerves of Anneliese Deckert, now eighty years old. This seems logical to Johanna as a newspaper employee: And yet she follows an urge she can't identify. On her way to Mrs. Deckert's, Johanna has no idea that she's about to run into the entire family and that returning the photo will cause a stir. Old Deckert starts talking, not eloquently, but eagerly, even demanding that Johanna come back. She does so, secretly taking photos and, above all, listening. The fragmentary nature, the many blank spaces, and the harsh tone seem familiar to her. Parallels to her own family become increasingly apparent to Johanna. —ADR Das Erste
Social Man
Comedy,Drama
Film Details
A young female journalist getting over the death of her grandmother while investigating a story strangely close to home about a female concentration camp guard. Seven and a half years after the fall of the Berlin Wall. The year the world learned of the existence of the cloned sheep "Dolly." The year Johanna's grandmother died.
Johanna's soul raged. No matter what she did, it was wrong. Suddenly, it was wrong to tell her uncle, who was trying to steal her fortune, off at her grandmother's funeral.
Why did her mother send her to attend and stay away herself? Now she's the bad daughter again. Johanna's mother knows how to deflect attention from herself and onto others. Johanna doesn't give herself time, neither to grieve nor to find peace.
Torn between ambivalent feelings between self-deprecation and the desire for recognition, she worked herself to pieces both privately and at work as a better intern, mostly hidden behind her camera. When she got her hands on the original photo of a concentration camp guard, she seized the opportunity and got on the nerves of Anneliese Deckert, now eighty years old. This seems logical to Johanna as a newspaper employee: And yet she follows an urge she can't identify.
On her way to Mrs. Deckert's, Johanna has no idea that she's about to run into the entire family and that returning the photo will cause a stir. Old Deckert starts talking, not eloquently, but eagerly, even demanding that Johanna come back.
She does so, secretly taking photos and, above all, listening. The fragmentary nature, the many blank spaces, and the harsh tone seem familiar to her. Parallels to her own family become increasingly apparent to Johanna.
—ADR Das Erste.