Michael (Michael Fuith) traveled all the way from Vienna to Berlin to surprise his ex-girlfriend Gabi (Anka Graczyk), to give back her key in person and maybe convince her that things don’t actually have to be over? How much of a bad idea this is becomes obvious, when he arrives just at the same time as a deadly virus that turns everybody who gets in touch with it into rage monsters. And Gabi isn’t even home. Trapped in Gabi’s apartment together with the handyman apprentice Harper (Theo Trebs), Michael has to figure out what to do next.
I had heard many good things about Rammbock, but unfortunately I was rather disappointed by it. I liked the setting and their version of the zombie lore, but I did not like or care for Michael. At all.
Charlie Kolostrum (Axel Ranisch) is a “sitter”, according to one of his self-help books. Not a doer, but one of the people who sit around waiting for things to happen. So he sits through school where he is in love with his girlfriend’s (Stefanie Reinsperger) best friend (Katharina Strasser), mostly ignored by his mother (Marion Mitterhammer) and overfed by his aunt (Bibiana Zeller). And then he sits through university, where he studies Art History [not because he has a particular interest but because according to the study adviser (Michael Ostrowski) is has the prettiest women – and that’s everything Charlie can muster some kind of enthusiasm]. Dividing his time between uni and his membership in the socialist students union the years pass.
Wie man leben soll is by no means a bad movie but I didn’t really like it a whole lot because I just couldn’t stand Charlie. But despite that the film had its moments.
When their father Hans (Johannes Krisch) dies, the children come together in the house they grew up in, where Hans had built a commune together with friends. Even Kyra (Andrea Wenzl) shows up, who was out of touch for the past twenty years. As Kyra re-connects with Niki (Philipp Hochmair) and Vito (Andreas Kiendl) and meets her little sister Mizzi (Emily Cox) for the first time, old tensions mostly with Hans are dragged up from the past and start to escalate.
For a debut film, Die Vaterlosen isn’t bad. The movie starts off strong, the characters are well drawn and the cast is mostly very good. But in the end, there’s a lot of untapped potential and the plot just doesn’t work that well.