2023-11-12 23:42:00
“The focus: a hot-smoked corpse.”
It had to happen at some point. It was only that the two characters from the investigative cosmos of Brandenburg’s “Polizeiruf 110”, the gender-fluid detective inspector Vincent Ross (André Kaczmarczyk) from the German-Polish investigation group and his Cottbus colleague Alexandra Luschke (Gisa Flake), met for direct cooperation on a case a question of time. “Cottbus Headless” is the title of the episode, in which you first have to sort yourself out a bit and get your bearings, but then you get along just fine.
It is probably no coincidence that the investigation into the scene around the fifth season takes place on the ARD Sunday crime slot right after November 11th, the start of the carnival season: the pivotal point is the hot-smoked corpse found after a fire in his workshop by the artist and carnival float builder Jurek Bukol (Sigi Polap). Why did the Pole have to die? Two years earlier he had been convicted in a court case because he allegedly blocked an escape route by setting up a sales stand at the carnival without authorization and was therefore responsible for the death of a person. But was everything really done correctly by the authorities back then? Ross and Luschke have their doubts about that. They quickly come across a network of interests and dependencies surrounding the great days, in which no one understands fun. Luschke’s superior Markus Oelßner (Andreas Döhler) also behaves strangely – as does Bukol’s family itself. And in the end it’s about money, about shifting responsibilities, about infidelity. Just the usual.
As the icing on the cake, there is even a chase that is respectable by Cottbus standards across the Lusatian metropolis, which is unusually busy with crazy hustle and bustle. The filming of this will probably go down in the annals of the Lower Sorbian city.
“Cottbus Kopflos” – with an hour more brainstorming there would certainly have been an even more catchy title – offers a solid, reasonably coherent screen material, which is quite courageous in that the authors Mike Bäuml and Axel Hildebrand practically everyone involved – police, city, Carnival carnivalists and middle class people – take a lot of offense and believe them to be the worst.
The androgynous Ross and the stocky, tomboyish Luschke also defy a dysfunctional work environment, and director Christoph Schnee allows their characters to work fantastically together in all their authenticity despite all their contrasts. In this case, Ross’ colleague Karl Rogov (Frank Leo Schröder), who only occasionally joins in by telephone, has to take a step back. This “police call” definitely made me want to see Ross and Luschke in a case for two again. (tk)
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