This is rarely “fresh” in the thriller of Damian John Harper, in a literal and suffered sense. Cars pushes all night, which crosses neon lights, it is glad of rain, when rain is discussed in dialect conversations when conversations about smaller and medium.
The necessary scammers, because the “blows” are expensive, but the “small” does not delete enough. A rough dialect is the central in the film, which is a little too shirt -like a shirt, like a RURPOTSTERN. The exclamation mark is Ralph Richters from the voice of fried storytellers.
Harper, who was born in American and studied at the Munich Kinematographic University, adapted in his third feature film Los Angeles and in the middle of the river, the novel “Fresh” Mark McNai and moves it in London to the industrial heart of Germany. Little, who pursues his main character Kai (Louis Hoffmann), fits into Wednesday, which crosses violence.
The young man falls into the processing of meat, sawing and knives in front of white tile walls through halves of animals, as soon as the blood spilles from the neck of the suspended pigs on the floor, another time, when the eyeballs are made of cattle with its knife.
“Fresh”. Director Damian John Harper. With Louis Hoffmann Franz Pyatzold UA Germany 2024, 98 min.
Kai lives with his wife Aisha (Canan Cyrus) and daughter Jenny in a fatal apartment. The modest existence between work, family and beer with Uncle Andy (Sasha Gershak), who also works at the factory, suddenly leaves prison. The latter is a walking atomic bomb, which is always nervous from attack, jokes and everything except enthusiasm that Kai spent a lot for the family from his 10,000 euros, which he should store.
Mirko wants to return his money and makes his brother return to the crime. Resistance seems pointless against an aggressive freak that Pyatzold with a short ignition cord plays.
Fortunately not to be killed
From the only local place, the “fresh” inevitably shoots films such as “Bang Boom Bang – A Middle Ding” (1999). But where the film of Peter Torvarte scored with the help of Mollusky charm, Harper’s film remains dark, tough and almost without humor.
In particular, the votes of the younger director are supported by the German genre of cinema, often with very limited means
As well known, Gnrekino has something else with an audience in Germany – but, fortunately, this should not be killed. And the last, but no less important, well -known directors, such as Christoph Hokhhausler and Thomas Arslan, have shown this for years. In 2023, Hokhhausler transferred the German genre cinema to the 21st century with his thriller Großstadt “Until the end of the night” for the trance and investigator -geoev.
His last work, La Mort Viorodendra, a steep thriller about the killer of the Order, noted his premiere in Locarno. This is the first French film Hochhäusler and its interpretation of the polar, French criminal film between the genre and copyright cinema. Arslan, in turn, later brought the continuation of his Berlin film “Noir“ Im Shadow ”(2010) in the cinema with“ Burnt Earth ”.
The world is sick, tries to heal, it is pointless
In particular, the votes of the younger director are supported by the German genre of cinema cinema – often with very limited means. For example, Autodidakt Max Glaschinsky debuted “Kahlschlag” (2020) without the support of the classical financing of the film with the provision of 10,000 euros from the state of Mecklenburg-western measured: a hybrid of a home film and thriller for two old friends and women reflecting the spirits of the past.
According to his own statements, Denis Moskitto and Daniel Ricte Siegel were also removed with a small budget “under the radar” and brought a neon light thriller passed by light last year with the “shock”. Between calmness and violence, the film tells about a doctor who has lost his license to practice drug use and takes care of the needs of iniquity against money. The “shock” is consistent, also in its pessimism: the world here is sick, tries to cure the meaningless.
Young directors also go to the genre approved by the cinema away from criminal stories. Singer Tilman already showed himself in the Luz (2018), his last film in the Khm Cologne, as a style, conscious in the style of a horror film with a part of Dario-Argento-vib. In his last film “Cuckoo” (2024), the German-American production in Berlinal, he tells skill and extremely effective a crazy variant of the Alpine Frankenstein, which ultimately reveals with monstrous wink.
Freedom and horror touch each other
Benjamin Paul, in turn, followed the girl who lives with his brother and parents in the sect, who wants to open General Jupiter in the beginning of this year, not science fiction in the classical sense, but an intensive combination of champagne thrillers and the history of adulthood. The ambivalence of his last remaining: freedom and terrorist touch.
The horror is also ubiquitous in the “fresh”. Harper uses the fried Mileive genre to tell the core of poisonous brothers. “The only thing we have. We accept together, ”says Mirko in one of many memories of his brother Kai after they lost their mother in childhood, and it is clear that they will remain with Uncle Andy. But this Western metaphee penetrates in the film so much that it quickly folds into a pose.
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Harper is very time: he accurately draws his environment, even if most secondary characters remain stereotypes and have a safe feeling of a dark atmosphere. Why he still forces his film in such (above) an ambitious and shortened structure of memories remains a mystery.
Childhood, Mirko Crake end in a disc or when he merges with his uncle; The first meetings of Kai with Ayşe and, and :: Harper, it seems, is so much as to confuse the cause and consequence that he takes any stream of narrative between the past and the present, especially in the first half. Richter’s outer voice can also change a little.
At the moment, however, when Kai visits his and a full escalation tape and tries to pull it into the sink, the film will catch a little again. It becomes clear that “Fresh” is also a genre at different stages of broken masculinity, and that in the case of KAI an explosion is also to break out of the wheel of a violent toxic hamster.
The explosion at the end of this film, which could be more, is violent violence, which is in no way inferior to winding reforms, bothers and terribly consistently in all respects. Uch!
