“Tatort” criticism “I kill nobody” convinced with frightening parallels


The case When a brother and sister couple from Libya are found brutally murdered in a house on the outskirts of Nuremberg, a classic case of xenophobia seems to spread in front of the commissioners Felix Voss (Fabian Hinrichs) and Paula Ringelhahn (Dagmar Manzel). The siblings have been in Germany for 15 years, are long integrated and have a foster son named Ahmad Elmahi (Josef Mohamed). But after the death of his foster parents he has disappeared.
In search of him, Voss and Ringelhahn learn that he testified against three young men in another lawsuit earlier. They also learn that he was very popular at the University of Erlangen, where he worked, especially among his fellow students. The question is: Was Ahmad witness or perpetrator of the crime on his foster family?
Dagmar Manzel and Ursula Strauss in an interrogation scene. Photo: © BR / Hager Moss Film GmbH / Felix

Before they can continue the case, another death reaches Voss and Ringelhahn. At first, nothing looks like a connection to the actual case. Frank Leitner (André Hennicke), an old colleague and friend of Paula Ringelhahn, dies in a car accident with antidepressants in the blood. When the Commissioner talks to the family and looks around the house, she finds that Leitner collects statistics on migrants’ crimes in his home. Besides, right thought in the form of books and the like – she must doubt to have known her friend well. And a wig hair found on the scene draws a connection between the murder case and Leitner’s wife Gudrun (Ursula Strauss). The resolution Ahmad Elmahi was, as the investigators learn, despite his radiant image and his all-round popularity, not free from mistakes. He radicalized himself, got rid of the religious statements of an Islamist. While Voss and Ringelhahn find and arrest this man, Ahmad remains missing. He is, as the viewer learns, even in search of the murderer of his foster father.
In a retrospective, the storylines then merge. Leitner’s children, apparently full of xenophobia, were involved in the attack on the family. The right-wing extremist group, to which the lynch command belongs, is led by Theodor Pflüger (Hansjürgen Hürrig), a former high school teacher – and father of Leitner’s wife. It comes to an insanely strong scene, as Ahmad sits at Pflügler in the living room, and this complains to him his suffering. “What a wonderful man you are. Courageous and ready for anything “, Pflüger said to Ahmad and further:” We are surrounded by small, hate-filled creatures who are not even worth their food. ” In the end it was Gudrun Leitner who pulled the strings in the background, pilling her husband and orchestrating the murder of the Elmahis. “You’re already back. Again and again. Is not that terrible? “Asks Felix Voss. It is the final movement in the film after he stops his partner from killing Gudrun Leitner. The camera While the “crime scene” is staged by the camera work on the whole moody gloomy, unusual angles but in some places distract from the action. For example, when Ringelhahn Voss reports about her connection to Leitner, this scene is filmed from the perspective of Voss’s left ankle. The added value does not open up directly. The conclusion Max Färberböck stages the seemingly striking case in a versatile, amusing and multifaceted way. The story is pervaded by some phrases, well told and sometimes downright funny. Likewise, when the classmates of Ahmad tell how “obsessed” they are with him. Or right at the beginning of the film, as the inauguration ceremony of Voss’ new apartment is shown – including in the next room kissing colleagues. Nevertheless, the comic does not tear the viewer out of the oppressive action and the topic at any point. The resolution of the case presents a culprit so reminiscent of the AFD leadership that it runs cold down your spine. Only the camera distracts in some places by overly creative placements from the action. All in all a really successful crime scene, socio-critical and bleak without becoming abstruse. With characters that are written so comprehensibly and sophisticated dialogues, as they have long been heard in any crime scene. You might also be interested in

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