Notes

Time of the cannibals

What are the really existential things? Family, wealth, happiness - or the simple integrity of the body. Depending on the center of your life and personal preferences, the priorities in this question are known to be set quite differently. Do we have first-world problems when we are annoyed by the constantly changing arrangement of light switches in hotels around the world? Do western recipes for a global management consultancy fit countries like Nigeria or India? Johannes Naber tells of these and many other things in his grotesque comedy “Time of the Cannibals” and covers wherever possible without slipping into your clothes. Last but not least, the consistent ending ensures 85 minutes of great entertainment with a very serious impact.


Kai Niederländer (Sebastian Blomberg) and Frank Öllers (Devid Striesow) have been a global business consultant tandem for years. When their rival Hellinger was promoted to partner instead, both were outraged. This disgrace unites them in suspicion of their new colleague Bianca März (Katharina Schüttler). This seems ambitious and at the same time driven by naive idealism. While the three of them are sitting in a hotel in Lagos and keeping appointments, they learn that Hellinger has killed himself and that their "company" is to be sold. While they are feverishly considering how to react and act, the hotel is occupied by militant Islamists.


Director and author Johannes Naber ("The Albanian") relies on total reduction in his staging and lets the three main actors carry the chamber play-like film, which manages almost completely without music: In addition to a few - identical - hotel rooms, the set only consists of hallways in front of the doors. The outside world is either Nigeria or India, it could also be Russia or Australia. It shows up briefly in business partners who come to meetings, a video conference and an extraordinary view out of the window. As in a theater setting, it always shows the same hint of any city. Cube-shaped gray houses, dirty air and a dull sun can be seen. This is not only due to the manageable production budget, but at the same time absolutely consistent: The trio of consultants doesn't need anything out there. Although they ruthlessly decide the fate of companies and people in various regions of the world, they do not take any step into the reality of these countries. Dutchman notes that just breathing the air there for a short time is like 30 days of continuous smoking. He's also the one who hires an army of hotel employees to catch a mosquito (which, in addition to hepatitis A, B, C and D, can also transmit AIDS and malaria, as he excitedly proclaims - "We're in Africa!") https://www.putlocker123.cc/latest-tvseries Wants to reward dollars.


It quickly becomes clear: the two men have various quirks, and Öllers in particular is quite unpredictable. Devid Striesow (“Tatort”, “The Forgers”) skillfully plays him close to madness. He regularly gets exaggerated in phone calls with his wife, but is then again very controlled and professional. Katharina Schüttler's (“The day is coming”) figure of Bianca is placed alongside men on an equal footing, and not just female decor. She is less insane, but much more obscure both for her two male colleagues and for the viewer. In any case, the main characters in “Time of the Cannibals” are anything but one-dimensional. Every person has unexpected and - despite the cynical view of the world of consultants - even lovable sides, with which the protagonists sometimes surprise each other (when it comes to people “out of the zone”, for example, the following amusing dialogue occurs: “I'm out Erfurt. ”-“ Why did you never say that? ”-“ I didn't know that there was an obligation to report ”).

<img width="363" src="https://www.comingsoon.net/assets/uploads/2019/03/SSTNJ-768x432.jpg" />


The dialogues fluctuate between quick-witted humor, discriminatory statements towards all sorts of people and sheer cynicism. Director Naber manages the trick of keeping the balance in such a way that it is neither boring nor overdone. This is also due to the actors, who on the one hand exaggerate their characters in a grand way, but still keep them so realistic that you can imagine every sentence in real life - even if you hope that such people do not exist too often. While blocked credit cards and wives threatened with divorce cause unrest, the sporadic shots heard from outside suddenly turn into a civil war. And suddenly a real threat to life and limb is literally at the door. Now people throw up and pray and the previous, nonchalant way of coping with the problems of white, arrogant people very quickly gives way to the sheer will to survive, which is also reflected in the staging: When the protagonists leaned back


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