Creations like this are necessary because they show a praiseworthy and convenient psychological profile nowadays.
Lara (Corinna Harfouch) is a sober, mature and lonely woman who has just retired. She was a civil servant and held a position of responsibility in a cadastre office and, on the other hand, practiced as a piano teacher. His most outstanding student was his own son, whom he asked for a lot of dedication and who always told him the truth, even if it hurt, with the firm intention of becoming a great musician. That's how it was and now he is a concert player, but he has a tense relationship with his mother due to the high levels of demand to which she subjected him. The film begins on Lara's 60th birthday, which coincidentally coincides with a concert by her son. Viktor (Tom Schilling) where he is going to present, exclusively and for the first time, one of his compositions. When his mother found out that there are still tickets to sell, he buys them all and distributes them among several people. This fact will generate unexpected and uncontrolled circumstances covered with slight hints of humor, always dry and contained, which will not reach all audiences equally.
It would purge more than one child infected with Emperor syndrome.
It is a deep and elegant tape in which there is no need to smile. Where austerity and rigor become the wise predecessors of ambitious life goals, where effort pays off when a high price is paid. This mother bet on her son, setting aside gingerbreads and flattery, which only hindered and damaged his career. She continues to seek excellence in her offspring, not mediocrity. In a society where appearance and false morals infect the true values of human self-improvement and where being the best is a reason for marginalization, it is even more difficult to stand out because, among other things, it is frowned upon. Hence, this woman has been segregated even by her closest environment: her husband left her, her mother ignores her and even her own son avoids her. Still, she remains true to her principles, and although it hurts with her comments and attitudes, she sins of overwhelming honesty with others and with herself. Hypocrisy is a safe conduit for many times to recognize and love you, even in your closest circles: sad, but true. Lara knows this, but she boldly ignores that precept by remaining loyal to herself and to her strong principles no matter what happens and whoever has to fall.
The protagonist absorbs the work, drinks it alone. The film is her and only her, the rest is circumstantial and anecdotal. She is such an attractive woman in her personality that she dupes incomprehensibly from the start. His rigor, his discipline, his seriousness, his maturity … are part of a monolithic set that could not be otherwise. She is a whole and she knows it. The film has a cold color like its star and it does not become sad because it would be perceived as a gesture of weakness that cannot be consented to in a work like this.
Creations like this are necessary because they show a praiseworthy and convenient psychological profile in our days, but not in use due to the mollar environment to which we are subjected. It does not take a large production to make a good film that, in my opinion, requires more than one viewing and, on the other hand, would serve as a purge for more than one child infected by Emperor syndrome. I recommend it.
Synopsis It is Lara's 60th birthday, who has no reason to celebrate: her son Viktor is going to give the most important piano concert of his career. She was the one who projected and guided his musical career, but they have not spoken for several weeks and nothing seems to indicate that Lara will be welcomed in her debut as a professional interpreter.
Address Jan Ole Gerster
Script Blaz Kutin
Music Arash Safaian
Photography Frank Griebe
Distribution Corinna Harfouch, Tom Schilling, Volkmar Kleinert, André Jung, Gudrun Ritter, Rainer Bock
Duration 98 min.
Original title Lara
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