This review was published when Tatort first aired on April 26, 2020. On April 17, 2022, the film will be repeated in the first.
“National feminin” is about the fact that women can be young, right-wing and convinced feminists at the same time. Social media star and poster girl of the “Young Movement”, Marie Jäger (Emilia Schüle), is found murdered in the city forest of Göttingen, for the right-wing a welcome reason for virtual racist manhunt: the murderer must be a migrant.
The broadcast date of “National Feminin” this April only seems odd at first glance: the fact that right-wing extremism is a problem in Germany cannot be emphasized enough, even during the corona crisis. Jenny Schily as the provocative law professor Sophie Behrens is the acting figurehead of this film, and when she once throws a wine glass at the wall, she does it with appropriate contempt for wine, glass and wall.
Of course, it is also determined “on your own” again
And yet this one is crime scene just another blank template from the category “important topic dutifully taken up”: Florian Oeller, Daniela Baumgärtl (book) and Franziska Buch (director) prefer to work with a hammer than with a file. The rhetoric of the right that Anaïs Schmitz (Florence Kasumba) is exposed to in the interrogations of the members of the “Young Movement” is realistic enough; You don’t have to overdramatize anything about racist slogans, everyone understood that. But at the end of the film one feels strangely uncreatively torpedoed, as if the purpose of drawing attention to right-wing extremism was to be a mere fictional copy.
Overall, the seriousness of the film suffers from the start: an activist looks into the camera so that you can almost hear the director’s instructions (“theatrical look!”); there is once again a commissioner in love. And of course the investigators have to hand the case over to the LKA. The topos of investigating “on your own” is in the crime scene roughly the equivalent of riding a bike without a helmet. A bit stupid – but “wild” is something else.
So what remains in the memory is the repeated statement that today is really a shitty day, Schmitz and her colleague Charlotte Lindholm (Maria Furtwängler) agree on that. And Lindholm’s conversation with her son when she explains why she has to work late at night: “I have to go again because of the fascists”. The boy understands that, after all he has read what’s going on “on the internet” beforehand. Since the authenticity claim is this crime scene then finally gone – the word “network” is more likely to be used by 50-year-olds than by 15-year-olds. Or, to paraphrase Wolfgang Herrndorf: “Yes, that’s what young people talk like”.
The first, Sunday, 8:15 p.m.