#Stephan Kampwirth as peter doppler

[hannahstanwald]

sensing a theme

[equalv]

German tv shows with lgbt* characters

I think it can be quite hard to find queer german tv shows, so I thought I‘d compile a list with the ones that I have watched so far.

✪  = queerness is centered in this show

A-Z

1899 (2022) (mlm) | Netflix | international 

Ángel (Miguel Bernardeau) 

Ramiro (José Pimentão)

Krester (Lucas Lynggaard Tønnesen)

All you need (2021-) (mlm) | ZDF | ✪

Vince (Benito Bause)

Robbie (Frédéric Brossier)

Levo (Arash Marandi)

Tom (Mads Hjulmand)

Andreas (Tom Keune)

Barbaren (2020-) (mlm) | Netflix

Marbod (Murathan Muslu)

Flavus (Daniel Donsky)

Beat (2018) (mlm) | Prime Video

Beat (Jannis Niewöhner) 

Becoming Charlie (2022-) (trans, mlm, wlw) | ZDF | ✪

Charlie (Lea Drinde)

Ronja (Sira-Anna Faal)

Mirko (Antonije Stankovic)

Blutige Anfänger (2020-) (mlm) | ZDF, YT

Michael Kelting (Werner Daehn)

Dr. Claas Steinebach (Martin Bretschneider)

Bruno Pérez (Martin Peñaloza Cecconi)

Phillip Schneider (Eric Cordes)

Charité (2017-) (wlw, mlm) | Netflix

Schwester Therese (Klara Deutschmann)

Otto Marquardt (Jannik Schümann)

Martin Schelling (Jacob Matschenz)

Dark (2017-2020) (wlw, mlm, trans) | Netflix

Peter Doppler (Stephan Kampwirth)

Bennie Wöller (Anton Rubtsov)

Doris Tiedemann (Tamar Pelzig/Luise Heyer)

Agnes Nielsen (Helena Pieske/Antje Trauer)

Deutschland 83/86/89 (2015-2020) (wlw, mlm) | Prime Video

Alex Edel (Ludwig Trepte)

Prof. Tobias Tischbier (Alexander Beyer)

Lenora Rauch (Maria Schrader)

Rose Seithathi (Florence Kasumba)

Dogs of Berlin (2018) (mlm) | Netflix

Erol Birkan (Fahri Yardim)

Guido Mack (Sebastian Achilles)

Dr. Klein (2014-2019) (mlm) | Netflix

Patrick Keller (Leander Lichti)

Kaan Gül (Karim Günes)

DRUCK (2018-) (wlw, mlm, trans) | YT | ✪

Fatou Jallow (Sira-Anna Faal)

Matteo Florenzi (Michelangelo Fortuzzi)

Zoe Machwitz (Madeleine Wagenitz)

Kieu My Vu (Nhung Hong)

Isi Inci (Eren M. Güvercin)

David Schreibner (Lukas von Horbatschewsky)

Yara Aimsakul (Elena Plyphalin Siepe)

Hans Brecht (Florian Appelius)

Eldorado KaDeWe – Jetzt ist unsere Zeit (2021-) (wlw) | ARD

Heidi Kron (Valerie Stoll)

Fritzi Jandorf (Lia von Blarer)

How to Sell Drugs Online (Fast) (2019-) (wlw) | Netflix

Fritzi (Leonie Wesselow)

Gerda (Luna Baptiste Schaller)

Kitz (2021) (mlm) | Netflix

Kosh Ziervogel (Zoran Pingel)

Hans Gassner (Ben Felipe)

Ku‘damm 56/59/63 (2016-2021) (mlm) | ZDF

Wolfgang von Boost (August Wittgenstein)

Hans Liebknecht (Andreas Pietschmann)

Der Kroatien Krimi/Split Homicide (2016-) (wlw) | ARD

Stascha Novak (Jasmin Gerat)

Loving Her (2021) (wlw) | ZDF | ✪

Hanna (Banafshe Hourmazdi)

Holly (Bineta Hansen)

Franzi (Lena Klenke)

Lara (Emma Drogunova)

Josephine (Karin Hanczewski)

Anouk (Larissa Sirah Herden)

Sarah (Soma Pysall)

Mord mit Aussicht (2018-2022) (wlw) | Netflix

Bärbel Schmied (Meike Droste)

Neumatt (2021-) (mlm) - Switzerland | Netflix

Michi Wyss (Julian Koechlin)

Joel Bachmann (Benito Bause)

Polizeiruf 110 (1971-) (queer/gnc) | ARD

Frankfurt/Świecko

Vincent Ross (Andre Kaczmarczyk)

SOKO Leipzig (2001-) (mlm) | ZDF

Moritz Brenner ( Johannes Hendrik Langer )

Tatort (1970-) (mlm, wlw) | ARD

Berlin

Robert Karow (Mark Waschke)

Hamburg

Julia Grosz (Franziska Weisz)

Saarbrücken

Esther Baumann (Brigitte Urhausen)

Wien

Meret Schande (Christina Scherrer)

Vorstadtweiber (2015-) (mlm) – Austria

Georg Schneider (Jürgen Maurer)

Joachim Schnitzler (Phillip Hochmair)

WIR (2021-) (wlw) | ZDF

Annika Baer (Eva Maria Jost)

Helena Kwiatkowski (Katharina Nesytowa)

Wendland (2023-) (wlw) | ZDF

Kira Engelmann (Paula Kalenberg)

Birthe (?)

Queer Eye Germany (2022) (mlm, nblm, trans) | Netflix

Avi Jakobs

Leni Bolt

Ayan Yuruk

Jan-Henrik Scheper-Stutke

Aljosha Muttardi

Notes: I may have forgotten to add some characters, because for most of the shows it has been some time since I last watched them. Please let me know if you want me to add a character or even show:)

[beautifulfaces-icons-and-gifs]

Stephan Kampwirth on Dark

as Peter Doppler on Dark [S01 E01]

Information on beautifulfaces

Like or reblog.

[windenertageblatt]

Stephan Kampwirth, Karoline Eichhorn & Bjarne Mädel Foto: André Poling/MOIN Filmförderung, 29 January 2012

[death-or-glory]

ᅠ ᅠᅠ ᅠ ᅠ ᅠᅠ ᅠᅠ ᅠ ᅠ  tell me about paradise.

[ladycapuleti]

I'm living in an age Whose name I don't know Though the fear keeps me moving Still my heart beats so slow

relationships in Dark ➜ 𝗖𝗛𝗔𝗥𝗟𝗢𝗧𝗧𝗘 + 𝗣𝗘𝗧𝗘𝗥

+ bonus

[dreamlikeapsycho]

DARK season 3 - exclusive behind the scenes shots.

(one extra pic at: @about.maxs)

[supersadfan]

[kwebtv]

Dark  -  Netflix  -  December 1, 2017 -  Present

Science Fiction (10 episodes to date)

Running Time:  60 minutes

Stars:

Louis Hofmann as Jonas Kahnwald 

Sebastian Rudolph as Michael Kahnwald 

Maja Schöne as Hannah Kahnwald (née Krüger) 

Angela Winkler as Ines Kahnwald 

Lisa Vicari as Martha Nielsen 

Moritz Jahn as Magnus Nielsen 

Daan Lennard Liebrenz as Mikkel Nielsen 

Oliver Masucci as Ulrich Nielsen 

Jördis Triebel as Katharina Nielsen 

Walter Kreye as Tronte Nielsen 

Tatja Seibt as Jana Nielsen 

Gina Stiebitz as Franziska Doppler 

Carlotta von Falkenhayn as Elisabeth Doppler 

Stephan Kampwirth as Peter Doppler 

Karoline Eichhorn as Charlotte Doppler 

Hermann Beyer as Helge Doppler 

Paul Lux as Bartosz Tiedemann 

Deborah Kaufmann as Regina Tiedemann 

Peter Benedict as Aleksander Tiedemann 

Lisa Kreuzer as Claudia Tiedemann 

Andreas Pietschmann as the Stranger

Mark Waschke as Noah

Lea van Acken as Girl from the future

[jimmymcgill]

Dark and Yellow

[viaggiatricepigra]

Dark

Titolo originale Dark  Paese Germania Anno 2017 – in produzione Formato serie TV Genere drammatico, thriller Stagioni 1  (per ora) Episodi 10 (per ora) Durata 43-55 min (episodio) Lingua originale tedesco Ideatore Baran bo Odar, Jantje Friese Regia Baran bo Odar Sceneggiatura Baran bo Odar, Jantje Friese, Martin Behnke, Ronny Schalk, Marc O. Seng Prima visione Distribuzione originale Data 1º dicembre 2017 Distributore Netflix Distribuzione in italiano Data 1º dicembre 2017 Distributore Netflix (Alcuni) Interpreti e personaggi 

Louis Hofmann

Louis Hofmann: Jonas KahnwaldOliver Masucci: Ulrich Nielsen Jördis Triebel: Katharina Nielsen Maja Schöne: Hannah Kahnwald Sebastian Rudolph: Michael Kahnwald Anatole Taubman: Bernd Doppler Mark Waschke: Noah Karoline Eichhorn: Charlotte Doppler Stephan Kampwirth: Peter Doppler Anne Ratte-Polle: Ines Kahnwald Andreas Pietschmann: The Stranger Lisa Vicari: Martha Nielsen Angela Winkler: Ines Kahnwald Trama Winden 2019. La scomparsa di due bambini in una città tedesca e le conseguenti ricerche porteranno alla luce misteri e oscuri segreti che questa piccola cittadina nasconde, rivelando i rapporti e il passato di quattro famiglie che vi abitano: i Kahnwald, i Nielsen, i Doppler ed infine i Tiedemann. La trama letta così può sembrare banale, perché dice tutto e niente, ma in particolare non da niente per cui creare curiosità. E sono felice di non averla nemmeno sbirciata prima di iniziare a guardarla. Al contrario, il trailer mi aveva incuriosito perché mostra qualcosa in più, ma sempre celando il grande mistero dietro a tutta la faccenda, altrimenti che serie thriller sovrannaturale sarebbe? Infatti com'è riportato sulla locandina, la domanda non è dove, ma quando. Che già fanno presagire quale potrebbe essere il nodo centrale della vicenda.

Trailer Originale, sottotitolato in Inglese

Mi spiace non esser riuscita a trovarlo sottotitolato in Italiano,

ma ho evitato di metterlo apposta doppiato perché perde molto rispetto all'originale.

Solo una piccola nota, prima di andare avanti. Ho visto Stranger Things e questa serie non ha NULLA in comune, nonostante vengano fatti riferimenti in molti articoli, dicendo addirittura che sia "la risposta tedesca". Niente di più sbagliato. Sono due serie con qualche vago elemento in comune e una trama di base sovrannaturale, ma fine. Non fatevi influenzare da queste cavolate.

Ora, andiamo con ordine e vi parlerò un pochino della storia, cercando (ovviamente) di spingervi ad essere curiosi di vederla perché, anche se ha dei difetti, la trama è davvero ben studiata e, puntata dopo puntata, porta lo spettatore a non volersi scollare dallo schermo per scoprire cosa accadrà. Ci sono quattro rami principali, quattro famiglie le cui storie si intrecciano e vengono portate avanti durante tutta la trama: Kahnwald, Nielsen, Doppler e Tiedemann. Il tutto inizia con un avvenimento tragico: un uomo si suicida lasciandosi dietro una busta misteriosa, sulla quale c'è scritto che deve essere aperta un determinato giorni ad un ora specifica. Da questo avvenimento saltiamo in avanti di alcuni mesi, conoscendo il primo dei vari protagonisti, Jonas Kahnwald; scopriremo che è stato suo padre a togliersi la vita e che per questo periodo lui è stato in una clinica per rimettersi. Quel giorno in particolare in cui lo conosciamo, ricomincia anche la scuola.

Fra le chiacchiere, la notizia più sconvolgente è la scomparsa di un ragazzo da alcune settimane. Quella stessa sera lui insieme al suo migliore amico Bartosz Tiedemann e la sua fidanzata Martha Nielsen, oltre che i fratelli di Martha, Magnus e Mikkel, decidono di andare nei pressi di una grotta dove pensano che Erik nascondesse la sua droga.

Lì si troveranno anche con un'altra ragazza, Franziska Doppler, sempre della loro scuola, ma qualcosa li spingerà a fuggire e Mikkel scomparirà, portando la famiglia Nielsen alla disperazione.

Ulrich (il padre) è un poliziotto dai modi bruschi ed un passato turbolento, che tenterà ogni pista possibile per poter ritrovare suo figlio, insieme alla collega Charlotte Doppler, perché queste scomparse riportano a galla fatti di 33 anni prima, quando altri ragazzi scomparvero, tra cui il fratellino di Ulrich.

Il tutto poi prenderà una piega inquietante quando verrà ritrovato il corpo di un ragazzino nel bosco, con particolari, legati anche alla morte, che lasceranno gli investigatori senza saper come muoversi.

Non vi preoccupate, inizialmente i nomi sono un casino totale (e anche andando avanti, capirete poi i motivi) però alcuni si legheranno presto ai volti e si riuscirà a seguire il tutto. Ma non sempre con facilità, mi spiace ma anche questo fa parte del fascino della storia. Le prime puntate non sono un gran che, anzi sono pesantucce e la visione è quasi faticosa, ma vi consiglio di armarvi di pazienza perché poi si migliora, nonostante alcuni elementi nella trama che appesantiscono il tutto. Come la musica. Mi spiace ma questo elemento per tutta la serie tv mi è sembrata messa a sproposito nel 90% dei casi, dove volevano sottolineare qualcosa, ed invece si ottiene un effetto opposto. Bocciata!

Come recitazione non saprei dire, semplicemente perché l'ho vista in lingua originale (tedesco, che vi consiglio! Il doppiaggio non rende mai giustizia al 100%, se vi abituate a vedere le serie in lingua) e quindi non so rapportarmi e giudicare se ci può stare oppure no un certo tipo di recitazione; alcuni attori li ho trovati stupendi e coinvolgenti, altri rigidi e in certe scene quasi esagerati, portando a fondo quel

momento con loro.

Ma non vi arrendete!

Come già dicevo la trama è il nodo centrale ed il motivo per cui vi consiglio di prenderla in considerazione e guardarla. Originale e ben pensata, riesce a incastrare molti elementi davvero difficili tra loro e portarli avanti, rendendo il tutto sempre più interessante, nonostante spesso si aggiunga confusione alla storia.

Come potete vedere, anche la sigla di apertura è...allucinante!

La trovo splendida anche se decisamente confusa, caotica e senza senso...

 Non vorrei dirvi di più perché meno si sa, più si scopre guardandola e si rimane spiazzati dalla storia, nonostante tante cose siano intuibili e ci si azzecchi. La trama centrale ruota attorno ad una questione che ancora oggi viene molto dibattuta, specialmente tra appassionati di fantascienza:

passato, presente e futuro, possono essere influenzati tra di loro?

Ci sono molti film, telefilm, libri,....che ne parlano da angolazioni diverse e questa serie propone una visione che in parte si conosce già, ma con un punto di vista leggermente diverso dal solito e che rende il tutto più curioso e misterioso. Insomma: un bel caos da cui si deve cercare di capire cosa accadrà, ma che non è semplice. Il finale una bomba!

Ben creato, che porta alcuni nodi al pettine, però creandone molti altri, lasciando anche tante domande senza risposta. La storia resta aperta ad un seguito che spero venga fatto perché, nonostante alcune lacune, merita di essere approfondita e di rivelare tutti i suoi misteri.

Prima di lasciarvi, vi lascio solo una parola. Potrà sembrarvi strana ma se lo guarderete capirete in fretta perché l'ho scritta e spero vi faccia sorridere, così saprete di non essere i soli:

ombrelli

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[aion-rsa]

Dark Season 3 Ending Explained

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This whole article contains spoilers for Dark Season 3

The third season of Netflix hit Dark has brought the massively complicated show to an end. The finale was as mind boggling and epic as expected. But, in true Dark fashion, fans are still calling out for questions about the ending to be answered. We’ve given it our best shot.. 

Even then, a show like this will never be easy to understand, the complications and paradoxes of the show are exactly what makes it. Just as Jonas (Louis Hofmann) says, “it’s a bit complicated to explain”. Like the fact Charlotte may be her own Grandma… Yep, we’re as confused as you are. 

We’re reminded time and time again that everything and everyone is connected in Dark, and the final few episodes of this season gives this a whole new meaning. 

The Origin World 

In between the initial two worlds we know in Dark, Claudia (Julika Jenkins) – being somebody disconnected from the Nielsen family tree – discovered there was a third world, which she named the Origin World – because, you might have guessed it, it’s the ‘real world’. 

You may have heard the word ‘Origin’ mentioned throughout the series. In order for the knot and loop to stop, of course, the Origin needed to be destroyed. 

The Origin came as the product of a car crash, where the death of HG Tannhaus’ (Christian Steyer) son, daughter-in-law and granddaughter prompted Tannhaus to think up and use a time machine in the first place, in an attempt to save them. 

Jonas realises he has been stuck in a cycle that will continue for all time. In this cycle each character is doomed to keep repeating the same mistakes over and over. Jonas begins to learn that he has kept trying to bring about the apocalypse. 

After finding out from Claudia that there was a moment where time could be stopped and the Origin World visited, Jonas and Martha (Lisa Vicari) time travel through Winden back to June 1986. They manage to prevent the car crash deaths and Tannhaus creating the time machine, but in doing so, wipe their own worlds away. 

It’s almost as though being in this place acts as a black hole void where Jonas and Martha are sent to in a non-existent place. 

In the Origin World the Nielsen family tree was never created, and the events of the last two seasons never really happened. 

Does that mean Martha and Jonas die? 

Technically, no. They are completely wiped from any form of existence. So they don’t need to die, because they stop existing altogether. They wonder what seeing childhood versions of themselves could mean and hold hands as they disappear from existence while ‘What a Wonderful World’ plays in the background – sob. 

Because they managed to destroy the knot, it wasn’t just Jonas and Martha that were wiped out – every character in Adam and Eva’s world also now cease to exist. 

The Final Scene 

The final scene sees a group of characters enjoying a dinner party in modern day Winden. Peter Doppler (Stephan Kampwirth), Hannah Kahnwald (Maja Schöne), Katharina Nielson (Jördis Triebel), and Benni (Anton Rubtsov) and Torben Wöller (Leopold Hornung) were all present. They are the only ones who survived with everybody in Adam and Eva’s world ceasing to exist. This is because these characters were not born as a product of time travel. 

Regina (Deborah Kaufmann) hasn’t died of cancer, Hannah is pregnant (although her partner Mikkel doesn’t exist anymore), and Peter seems to be happy with his transgender partner and not Charlotte – because now she doesn’t exist. 

A Glitch 

There is a strange sense that even though the other two worlds no longer exist, they have definitely had a profound impact on the lives that remain. Hannah talks about having ‘deja vu or something’, and wears a coat identical to Jonas’ yellow one. Hannah is asked what name she likes for her unborn baby, and in an emotional final line, she says “I think Jonas is a beautiful name.” 

Jonas and Martha previously referred to the feeling of déjà vu as a ‘glitch in the Matrix’ – implying that even though these characters have been wiped from existence, some things are not predicted by people, but are determined by the system, or a higher power. Despite Jonas and Martha’s attempts to make sure that events don’t repeat themselves, some things are destined. 

Even when Jonas is gone, some memory of him still lingers as the lights flicker. 

Questions left unanswered 

What happened to Wöller’s eye?

It may seem insignificant, but in the final scene, he still has his scars and even begins to try and explain how they got there. 

Is the knot broken for sure?

It’s clear that Adam and Eva’s worlds have vanished, but what is not so clear is why Hannah still has flash-backs. It could just be a way for the show’s writers to keep the fans wanting more, but it could also signify a wrinkle in time, and a glitch in the system.

The post Dark Season 3 Ending Explained appeared first on Den of Geek.

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[35milimetross]

Crítica – ‘Dark’ (T1)

Dark llega a Netflix posicionándose como serie revelación de la temporada

Título original: Dark

Año: 2017

Duración: 60 min.

País: Alemania

Dirección: Baran bo Odar y Jantje Friese

Guion: Jantje Friese, Baran bo Odar, Martin Behnke, Ronny Schalk, Marc O. Seng

Música: Ben Frost

Fotografía: Nikolaus Summerer

Reparto: Anna König,  Roland Wolf,  Louis Hofmann,  Oliver Masucci,  Jördis Triebel, Sebastian Rudolph,  Mark Waschke,  Karoline Eichhorn,  Stephan Kampwirth, Anne Ratte-Polle,  Helena Abay,  Harald Effenberg,  Sebastian Hülk, Deborah Kaufmann,  Ella Lee,  Andreas Pietschmann,  Walter Kreye,  Peter Benedict, Christian Steyer,  Leopold Hornung,  Tatja Seibt,  Lisa Vicari,  Hermann Beyer, Angela Winkler,  Peter Schneider,  Stephanie Amarell,  Carlotta von Falkenhayn, Arnd Klawitter,  Anatole Taubman,  Luise Heyer,  Lena Dörrie,  Julika Jenkins, Michael Mendl,  Gwendolyn Göbel,  Lisa Kreuzer,  Hannes Wegener

Productora: Wiedemann, Berg Television. Distribuida por Netflix

Género: Intriga. Sobrenatural. Secuestros

Ficha en Sensacine

La primera serie original alemana de Netflix llegó a la plataforma de contenidos en streaming casi como de sorpresa, sin avisar, como lo hizo The OA. Esto fue clave para que la gente no empezara a sacar conclusiones precipitadas y especular una trama que se preveía oscura con ese primer tráiler lanzado. Considerada por muchos la Stranger things madura y de adultos, Dark ha conseguido diferenciarse creando una nueva historia que poco tiene que ver con la creación de los hermanos Duffer.

Dark comienza con la desaparición en extrañas circunstancias de dos niños en el pueblo alemán de Winden. Este suceso reabrirá viejas brechas del pasado que parecen no haber cicatrizado y donde el tiempo va a jugar un papel muy importante en el desarrollo de los acontecimientos. La concepción filosófica del “Eterno retorno” será el leitmotiv de la historia.

“Los agujeros negros son considerados como las puertas al infierno del universo”

El episodio piloto presenta unos personajes que se irán multiplicando exponencialmente a lo largo de la serie. Para comprender la historia de cada personaje hay que coger lápiz y papel. No vamos a destapar nada cuando decimos que los viajes en el tiempo son los verdaderos protagonistas de Dark. ¿Qué ocurre con esto? A través de un portal temporal situado en un complejo de cuevas que permite moverse en el tiempo con un laxo de 33 años, se podrá viajar desde el 2019, presente en el que comienza la serie, hasta 1986 y 1953. Hasta el momento, la temporada primera solo ha revelado los viajes en el tiempo a estas tres fechas.

En cada fecha encontramos a los mismos personajes, o familiares de los mismos, pero en tres años distintos, con sus cambios físicos y psíquicos. Son cuatro las familias que participan en la trama: los Kahnwald, Nielsen, Doppler y Tiedemann. Parece sencillo, ¿verdad? La cuestión está en que son familias numerosas, cuyas acciones en cualquier año repercuten en los demás y cuando los personajes empiezan a aparecer en años que no son los suyos comienzan los problemas. Aquí está el principal defecto de la serie: que el espectador puede abandonarla en cualquier momento ante la complejidad de seguir cada trama individual. Y más si estas cambian en cada año.

Hasta los propios personajes necesitan estudiar el entramado de la serie

Un gran punto a favor es el aspecto tétrico y oscuro que presenta mezclado con unos chicos en plena edad del pavo. Esto se asemeja hasta cierto punto con Stranger things. Además, la fotografía, banda sonora, toques musicales espeluznantes y una intro exquisita, le otorgan una madurez muy importante. Es curioso cómo abundan los planos medios donde la cámara se detiene situando al personaje en el centro de la pantalla y el tiempo se para intentando crear esa antítesis entre los continuos viajes en el tiempo y la pausa.

La serie comienza con un pulso y ritmo brutal que hace que el espectador se enganche y quiera seguir observando el desarrollo de la historia. A medida que avanza Dark, se va enrevesando y comienzan a surgir las dificultades para seguirla sumado a capítulos en los que no ocurre demasiado. La serie remonta en sus capítulos finales donde se destapa la razón de los viajes en el tiempo y de las intenciones de los personajes de usarlos a su antojo.

Parte de la familia Nielsen

El desenlace es, francamente, decepcionante, poco realista y muy separado de la estética general del resto de la historia. El final nos anticipa una nueva trama que se desarrollará más allá del 2019 (si continuamos con los viajes en el tiempo cada 33 años, nos situaremos en el 2052). Para ello, tendremos que esperar como mínimo un año tras conocer que Dark tendrá segunda temporada en Netflix. Hasta entonces, toca repasar cada movimiento en el tiempo de los vecinos de Winden.

Lo mejor: los efectos especiales y la estética lúgubre.

Lo peor: la complejidad y el entramado de historias personales que se multiplican en el tiempo.

Nota: 6/10

La entrada Crítica – ‘Dark’ (T1) aparece primero en 35milimetros.

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[windenertageblatt]

Stephan Kampwirth & Sandra Borgmann at the German premiere of "HEIMAT (Damals war auch scheiße)", 10.11.2016

[fathersonholygore]

Netflix’s Dark Season 1, Episode 4: “Double Lives” Directed by Bara bo Odar Written by Martin Behnke & Jantje Friese

* For a recap & review of the previous episode, “Past and Present” – click here * For a recap & review of the next episode, “Truths” – click here “Black holes are considered to be the hellmouths of the universe” Beginning with whom we can only assume is H.G. Tannhaus narrating, discussing time and space and where people, matter, goes when sucked into a black hole, this episode starts using some particular imagery that looks almost Celtic, perhaps even runic, Viking-style, who knows. The stranger (Andreas Pietschmann) looks to have an elaborate back tattoo related to said imagery. The relationship between Peter (Stephan Kampwirth) and Charlotte Doppler (Karoline Eichhorn) looks really strained, as if they sleep in separate rooms, let alone separate beds. What’s his deal? He’s got some secrets, there’s no doubt. Then they’ve got their daughters Franziska (Gina Alice Stiebitz), older, more volatile, and Elisabeth (Carlotta von Falkenhayn), deaf, frustrated with her own family a bit. Peter goes to see his father Helge (Hermann Beyer) in the home; I wonder what his father’s role in all this is, how his story in ’86 connects to now. The old man certainly knows something. And Charlotte’s doing a bit of unofficial detective work while bringing Elisabeth to school, as well; the little girl’s stupid, either, she knows her mother’s being sneaky. I love their relationship, we get to see a little in this episode. Hannah Kahnwald (Maja Schöne) is trying to keep a relationship with her son, Jonas (Louis Hofmann), though he’s clearly going through his own personal turmoil, as we’ve witnessed. He goes back up to the cave, that map from his father’s suicide room in hand. He’s going in alone, which isn’t so smart. Even less smart with the stranger not far, watching him. Charlotte has the medical examiner take a look at one of the dead birds. She’s also running everything connected to the case of the missing kids, Mikkel, through her mind. She can feel there’s a connection. But where, exactly? In the meantime, Jonas is probing through the caves, looking for his own answers. At home, Ulrich (Oliver Masucci) and Katharina (Jördis Triebel) Nielsen aren’t totally on the same page. She knows he isn’t telling her what’s actually going on in his head. At the same time they’re both worried for their son. On top of it all they can’t get a warrant to search the nuclear power plant, and it’s “been nearly 36 hours” since Mikkel went missing. Time is not on their side. There’s just more and more to worry about with Peter, all the time. He’s stressed over a bit of dirt on the floor of his car, the mat in the driver’s side; near to tears. Then Charlotte calls, wondering why he called the night Mikkel disappeared. He tells her he was working late. But it’s obvious to us, and likely her, this is not the case. What I dig is how the writing is really playing with us here. There’s something hidden in Peter’s life that is troubling. Obviously we know Mikkel’s not dead, he’s back in ’86, somehow. So, WHAT THE HELL IS IT, PETER? Fess up, man. So we see Charlotte’s tracking down her husband’s whereabouts. He goes to see a sex worker, suspecting Peter was with her; I believe she’s transgender, not positive. Either way, she confirms that Charlotte has a husband with a “dill pickle” penis, and that’s enough proof. A sad encounter. Now we know the man’s hiding his infidelity, and possibly his questioning of his sexuality, too. This is further confirmed when Magnus (Moritz Jahn) follows Franziska to her ballet rehearsal, meeting her in the change room afterwards when she rails on about the secrets of their little town. Charlotte hears from the medical examiner. The bird’s ear drums were obliterated. It also took a hard nose dive into the ground, possibly electromagnetic interference. Although no signs of any abnormal radiation. Very strange, though the ear drums relate to the dead boys. So her curiosity is peaked. She goes to the hatch out in the woods, heading down into the bunker below. After that she gets a call that sends her up to the plant itself. Seems Ulrich was found on the property, and he’s, well, beat up. Meanwhile, little Elisabeth thinks nobody’s coming to pick her up, after mom finally calls dad to tell him to go get her. So she heads off on her own, in the rain. At the same time ole Helge slips out of the home into the bad weather, repeating: “Tick tock, tick tock.” Oh, my. A little deaf girl and an old, ill man out in a rainstorm. This isn’t shaping up well, at all. Charlotte finds her daughter’s hat in the road, and nothing else. Another missing child? They’ve at least found Helge, after he stumbles onto police out searching. The old man says he must tell someone to “stop.” That’s pretty curious. Not long later Charlotte walks into her house, soaking wet. She says she met someone on the way, who gave her a gold watch. Somebody named Noah. He said the watch once belonged to Charlotte. Sure enough, inscribed inside is her name. Is the stranger named Noah? Or is Noah someone else entirely? Regardless, what’s the stranger mean in the grand scheme of it all? Who is he? We know one thing: Helge knows Noah. Out in the woods, a deaf boy walks alone. He comes upon a figure made of acorns. The stranger, the hooded figure arrives. He says Noah sent him. Oh, lord. What exactly will happen with the ritualistic torture if it happens to a deaf child? The ear drums won’t be affected, right? This is disturbing, and compelling, and oh, it’s killing me.

This series is just too fantastic. I’m trying not to binge so hard, it’s really difficult. One of my favourite shows of 2017, without a doubt. Can’t wait to watch more, at the same time I want to savour it, long as possible. “Truths” is next. Dark – Season 1, Episode 4: “Double Lives” Netflix's Dark Season 1, Episode 4: "Double Lives" Directed by Bara bo Odar…

[fathersonholygore]

Netflix’s Dark Season 1, Episode 2: “Lies” Directed by Baran bo Odar Written by Jantje Friese & Ronny Schalk

* For a recap & review of the Season 1 premiere, “Secrets” – click here * For a recap & review of the next episode, “Past and Present”  – click here A mysterious stranger (Andreas Pietschmann), the man in the hooded jacket, lurks around the woods. He sees people searching in the fields, continuing to look for Erik Obendorf (Paul Radom). At home, Jonas (Louis Hofmann) is having visions of father Michael (Sebastian Rudolph), covered in that dark, blood-like, oily substance; the same stuff coming out of his own ear. At least it’s only a dream. But there’s something odd going on in this tiny German town, surrounded by trees, the nuclear power plant. I’m loving how Dark takes it in gradual steps, there’s a truly palpable sense of mystery in this first two episodes that’s stunning. Dt. Charlotte Doppler (Karoline Eichhorn) and the medical examiner are checking out the body of the boy recently found in the woods. His eyes were burned, almost melted. Also, the “ear canals are destroyed.” Either pressure, or intense sound. There’s been some serious torture involved in this boy’s death. Meanwhile, Charlotte’s husband Peter (Stephan Kampwirth) is sitting in his car, crying, listening to the reports about the missing boys. What’s his connection? What’s he keeping buried inside? Out in the woods, in that cave, Dt. Ulrich Nielsen (Oliver Masucci) is searching for his boy Mikkel (Daan Lennard Liebrenz). He comes across a door marked with a radioactive symbol, heading into the nuclear power plant someplace. We’ll assume his next step is to get a warrant, to search the grounds of the plant. Then there’s Jana (Tatja Seibt), worried that events from three decades prior are coming back to bear on the present. Her son Mads, gone all those years ago. She’s suspicious of her husband Tronte (Walter Kreye), whom we see putting a sweater in the wash; one that has blood on it. I wonder about the details of their boy’s disappearance back in the 1980s. Jonas looks through the room where his father killed himself. At home, Jana looks through a box belonging to Mads, his old toys, so on. And then there’s the stranger, reading A Journey Through Time by H.G. Tannhaus. Keeping all sorts of drawings on the walls of his room. He’s got a magnificent little contraption, too. An old yet intricate looking machine. Everyone is coping with things in their own way. Poor Magnus (Moritz Jahn) blames himself for his brother’s disappearance. Martha (Lisa Vicari) is torn between the new life she’s chosen with Bartosz (Paul Lux) versus the old, lingering feelings she has for Jonas. Speaking of Jonas, he’s still in that room. He keeps poking around, eventually coming across a loose panel in the ceiling. He discovers some papers. When he unfolds them it’s a bunch of connected pieces, the Winden Caves mapped out. Jump back to that eerie little kids room where Erik is being kept, strapped into that strange chair. We see a video of H.G Tannhaus himself from the ’80s on that television set, explaining his theories. How’s it all connected? Lord knows it’s terrifying. It’s just as interesting trying to fit all the pieces together here at the start. Can’t wait for them to weave together. We see that Bartosz’s father is Aleksander Tiedemann (Peter Benedict), he runs the plant. He’s certainly protective, maybe even secretive. He refuses to let Ulrich and the cops come in to investigate. Therefore, they’ll have to try and get a warrant for sure now if they indeed want to get inside. No telling what that company’s hiding. Ulrich is still caught up with Hannah (Maja Schöne), though he’s too worried about his boy to be worrying about sneaking around behind his wife Katharina’s (Jördis Triebel) back. There’s also further links to the disappearance of Mads, years before, back in 1986. One of the pieces of evidence found is a tiny penny, fashioned like a medal and hung around the child’s neck. Just like the one the unseen killer places around Erik’s neck, before he put him into the chair. Curiouser and curiouser! Ulrich is also letting his curiosity get the better of him. He’s discovered a possible link to Jürgen Obendorf (Tom Jahn). So he goes out in the dark, searching the man’s property. He gets caught, certainly. All he stumbles onto is a stash of drugs. Turns out that father and son were running drugs together. A sort of family business. Unfortunately, that’s over. Erik is dead, being dragged by the killer into the woods someplace, eyes and face burned up brutally just like the other corpse. That’s not the only thing going down in the forest, either. Aleksander is out doing shady deals under the cover of darkness, supplies being loaded onto a transport truck in the middle of the night. He’s absolutely got skeletons in his closet. “Maybe we never know that. What a person is really like.” The whole town is experiencing strange electrical events. The power flickers, it goes out. Not to mention there are also wildlife issues, dead birds all over the place. Charlotte finds dozens upon dozens outside the police station. All the while, that stranger is tracking everything, keeping newspaper clippings on his wall. He writes over one headline that says WHERE IS MIKKEL? to say WHEN IS MIKKEL? And is he a different hooded stranger than the one we’ve seen around the woods? Is he a red herring to the overall mystery? Mikkel; where IS he, anyway? He stumbles from the cave in the woods, running out into the trees. He gets back to his house. Except, things look somewhat… different. Older. The cars, the bike outside. They’re from a different era. When Mikkel tries to go inside, his key doesn’t work. He finds a young Ulrich (Ludger Bökelmann) coming out, clearly not knowing who he is, and his future mother Katharina (Nele Trebs) waiting for him. Because he’s gone back to 1986 somehow.

The first episode was stellar; this was even better. Love the sci-fi elements, mixed with the sort of mundane everyday lives of people, taking that normal drama to wild places. Can’t wait for more. “Past and Present” is the next episode. Dark – Season 1, Episode 2: “Lies” Netflix's Dark Season 1, Episode 2: "Lies" Directed by Baran bo Odar Written by Jantje Friese & Ronny Schalk…