2023-05-07 23:41:00
A reflection by Maurice Querner on the latest Kiel episode.
An impulse control disorder is a behavioral sequence in which a certain impulsive behavior is triggered by a state of tension that is experienced as unpleasant. The impulsive behavior is pathologically often carried out automatically. Although it is experienced consciously, it cannot be prevented at will or only with difficulty. So far so good. Or that bad! Celina suffers from such a disorder, which she herself calls “bolleritis”. That sounds a lot more harmless than it is. Because a young mother is dead and Commissioner Borowski (Axel Milberg) is critically injured in the hospital.
But nothing comes of nothing, as a child Celina was exposed to the most severe abuse. As a bitter consequence, she developed her “Bolleritis”. “I always have it. I’m never without it, I can hardly stand it. The lid presses on my head from above,” she says in one of her phone calls with Borowski. The inspector has to admit that she just played the arse card. Ironically, Borowski, who otherwise seems so little empathetic, finds access to this young woman and tries to stop her killing spree. He demonstrates a psychological sensitivity that he doesn’t have when dealing with his colleague Mila Sahin.
Director Friederike Jehn has made a film in which the picture of the fate of a young woman gradually builds up over the entire film, from her voice on the phone, her reactions to Borowski, old photos, video snippets and background information from files. Actress Caroline Cousin has to rely almost exclusively on her voice as Celina. In the conversations with Borowski, she makes her desperation and her great anger clear, and very impressively so.
Although Borowski and his investigations from the hospital are the focus of the thriller, “The Great Rage” is actually a crime thriller for women. Commissioner Mila Sahin has a hard time with Borowski and with her guilty conscience. This time Almila Bagriacik shows a commissioner who apparently makes mistakes. And there is the mysterious figure of Maren Puttkammer, who sits and smokes like a ghost in Borowski’s sickroom. The wonderful Sophie von Kessel plays her opaquely, fleetingly like the smoke drifting out of the window. And as a viewer, you don’t know whether it’s just one of Borowski’s imaginations or whether it actually exists. In a small but essential role, Alexandra Schuster plays more than remarkably Celina’s mother, who has failed so much and cannot admit it to herself.
Many women also work behind the camera – such as Eva Zahn, who together with her husband Volker created the powerful crime drama that describes a system that claims to be based on love and affection, but in reality is often the worst danger for children means: the family. |mqu
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