2023-05-04 15:16:50
What happened until now
Et was last winter before the virus came across the Alps. Two elemental forces faced each other in the snow on a pass not far from Ischgl, between the Berchtesgadener and the Salzburger Land.
She wore an almost fairytale red outdoor jacket, with which she would have been found in every avalanche, he wore a ratty winter coat, in which he seemed to live and against the fur collar of which Peta was guaranteed to protest. And they met at a corpse.
commissioners. kieberer. Homicide detectives by your grace. Ellie Stocker and Gedeon Winter. The German with the pure heart and the Austrian with the dark soul.
A corpse lay in front of them. Right on the border. Carefully divided between both countries. And everyone who hadn’t spent decades in a serial coma sent prayers to television heaven. Another franchise of The Bridge, the Danish-Swedish series that started with a carefully divided corpse on the Oresund Bridge and has offshoots at almost every border right up to The Pass!
And then there was still no immune system that would have helped against the adventures of Ellie and Gedeon, which showrunners Cyrill Boss and Philipp Stennert had given up on the two acting primal forces Julia Jentsch and Nicholas Ofczarek.
As Ellie and Gedeon, they first hunt a serial killer, then another in a second season that couldn’t be avoided after the sensational success of the first. People dressed as mythical figures murdered in moral no-man’s-land. First the Krampus, a kind of night-black side of St. Nicholas. Then Schiech, the great hunter, the poacher, who has a good heart but loses it to greed. Works of art, the killers want to kill each other together.
It was about families and their consequences, about society and its criticism. Nature held everything in its icy grip. The woods stood rigid and silent. Philipp Peschlow’s precious pictures gave them back all the black romanticism that tourism had stolen from them. Anyone who then wanted to go to Ischgl or anywhere else on the Inn and Salzach could not be helped even without the Corona threat.
Ellie and Gedeon complemented each other like the dark side and the light side of the moon. And lost themselves in a web of trauma and poisoning, disillusionment and conspiracies. In the end they were deadly enemies. And Wolfgang Ambros sang.
what is happening now
Everything and much more. It’s late summer at the pass. But that doesn’t make the story any brighter or warmer. A serial killer is on the move again at the border. A woman is burned, a man is shot, a bather is killed. A figure as black as night, covered in blood and dirt, roams about. A person takes photos of the bodies.
After the Krampus and the Schiech, the Schinderjackl is now at the pass. A group of children gather in a cave for a blood ritual at a half-battered Mother of God. A boy hangs from a tree with a rope around his neck. Riding black horses. Climate activists mobilize against tourist use of the Salzburger Land. A citizen of the Reich jerks off while watching splatter pictures.
We are in a period film and a horror film and a psychological thriller and a political social drama. Christopher Schier and Thomas W. Kiennast took over the show running from Cyrill Boss and Philipp Stennert. And the sometimes a bit droning dramaturgy set in permanent excitement.
Kiennast’s pictures compete with the old ones by Pleschow in terms of darkness and grandeur. The loudspeakers boom according to all the rules of contemporary film music art, noises fade away, worlds of sound fade in, one hears more than one sees, smearing cellos in the “Joker” style, neoclassical piano relaxation, industrial orchestra surges.
And Ellie and Gedeon? They watched each other for a season, tore them to pieces, bit into each other. She thinks he’s corrupt, he’s chasing the shadows of his commune childhood. Now they are back in an office, in a car. She is drawn, frozen. He sticks opioid patches on his massive chest like Sherlock does with nicotine patches in a particularly complicated situation.
In between – in an act of broken chronology – you see Ellie. Her face emerges from the darkness of the night. Apparently it’s all over and the Interne asks her what Gedeon did wrong. To everyone’s surprise, Ellie defends the criminalistic god fool. At the end Wolfgang Ambros sings. And you sit there, covered in blood and confused. And is somehow – happy.
Uncanny affection: Nicholas Ofczarek and Julia Jentsch
Source: Sky Germany/Petro Domenigg
As the myth goes this time
The story of Schinderjackl goes like this: We are in the Archdiocese of Salzburg. And write the late 17th century. The witch hunt has long since peaked. Schinder-Bärbel was arrested in Pongau.
The poor skinner (hence: flayer) has cleared out the offering box of a church. She confesses (under torture) to being a witch and is hanged in Salzburg. Jakob, her son, whom everyone calls Jackl, disappears into the woods, surrounds himself as a kind of other pied piper with a “blood community” of beggar children.
They are caught, tortured, accused of witchcraft and sorcery by Archbishop Max Gandolf von Kuenburg in “magician boy trials” and executed. It should have been up to 150. They never got Jackl, whom they sometimes called magician jackl, sometimes Schinderjackl. In the “Pass” he is back. And he looks like August Diehl.
For whom this is not
For the alpine tourism industry, spoiled by “Bergretter” and “Bergdoktor” with free advertising. They probably made three signs of the cross when they heard that after three seasons it was over with the horrid mountain and valley eclipse that the “Pass” undoubtedly is.
For hikers and forest bathers and people who want to become one (murderous myths from the undergrowth!). For people with a tendency to tinnitus (it is intensified by the dark continuous sound from the loudspeakers). For those built close to a nightmare (he who sleeps afterwards sleeps badly, while sleeping is difficult). For die-hard fans of ordered stories (it’s a long time like in an overgrown wood, stories lie all over the plot forest).
For die-hard fans of ordered genre attributions (the third season is – more than the first seasons were – classic murder investigation also in the mixer: mystery drama, investigator analysis, story time, horror film, political and social play, capitalism criticism and “The Mountain Doctor” in night black).
How to best prepare
There are certain precautions that must be taken. You should be rested, balanced. The children, who actually have no business in front of the screen in the first seasons, must be kept safe in bed. Young people too. So that they can sleep peacefully, the use of headphones is recommended. “The Passport” is a very loud film in every respect.
It should also be as dark as possible in the room, cinema-dark is best. Because otherwise you only see schemes in the forest and in the cave. And there is a lot of forest and cave, but accordingly often little light. In the “Pass”, the darkest late summer in living memory has the Salzburger Land firmly in its grip.
What is needed for binge should be within easy reach. The smallest absences or absences can have terrible disadvantages in the intellectual shipment tracking of the eight-parter. In the end you should be two. It’s beautiful. Wolfgang Ambros sings there. To this can dance.
How it goes on
Not at all. Hopefully. It’s actually impossible. Although. One escapes. You could go on with that. Somewhere in the mountains. Maybe in the summer this time.
So that it is then also ruined in terms of tourism and only parents with wide-eyed fear wander across the alpine pastures and take care of their brats like a herding dog takes care of the sheep. Maybe it doesn’t have to be.
#Sky #Series #final #season #Passport
