This crime scene from Dresden is the portrait of a lost person. With his choleric outbursts, Michael Sobotta (Hans Löw) put his wife and his daughter Zoe to flight. He caught her red-handed with her boyfriend and then beat up the boy – that’s all a father can do to finally and deliberately wreck his relationship with his daughter. But Sobotta persuaded himself that the young woman didn’t run away because of him – no, she had fallen into the hands of kidnappers. A conspiracy theory, of course – but when a struggling man like Sobotta takes refuge in his fateful construction, he can distract himself from his own failure and failure. Don’t admit how much you’re in it yourself – that’s what it’s all about.
So Sobotta – his relentlessness is wonderfully played to the point by Loew – kidnapped first a tabloid journalist and then the Dresden commissariat head Peter Michael Schnabel (Martin Brambach). Both should pay for the fact that they are in cahoots with the politicians and that they all do nothing together against child porn rings, on the contrary: “According to my sources, there were big glitches in the investigative work that make me ask: do the police really have their place here Job done? Were the mistakes made on purpose? What are the Dresden police hiding?”
While the investigators Gorniak (Karin Hanczewski) and Winkler (Cornelia Gröschel) work under high pressure, a countdown finally ticks down permanently, Sobotta and Schnabel talk past each other. “They work for a police force that is opposed to its own people,” says Sobotta, who believes in conspiracies. And the official Schnabel, full of helplessness and also bewildered: “That’s nonsense what you are talking about. Where did you get this nonsense from? That is nonsense, that is nonsense: Don’t you hear that?” An exciting thriller well worth seeing is “Katz und Maus” (Director: Gregory Kirchhoff; Script: Jan Cronauer and Stefanie Veith; Camera: Dino von Wintersdorff), a lot of speed, an impressive look. And in terms of content, one core phenomenon of the irritating present is always in view: how unreachable parts of society have long since become.
The first, Sunday, 8:15 p.m.
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