Simply knock to trigger an alarm in the staff room. It’s Friday afternoon. The schoolyard and classrooms are abandoned. There are still only a few teachers and a training teacher. Now it’s knocking again. “If I can’t stand anything, it’s half past two,” moans Mrs. Lohmann. “Pupils at half past ten are no better off,” agrees Mr Engelhardt.
It goes back and forth like this until the training teacher has pity on me. However, there is a father outside who is looking for help. “It’s even worse!” Engelhardt howls, referring to several drummers in the opening scene. Like bosses who have turned into misanthropes, cynics, and youth enemies in school services.
With “Closed Society”, Sönke Wortmann returns to the identifications of the school’s burdened microcosm, which he knows from the film adaptation of stage success “Frau Müller muss weg”. Except that in the film version of Jan Weiler’s radio play, this time after the parent comedy, it’s the teacher’s side.
Wortmann is currently producing a phenomenal output of social comedies that are said to be provocative but reliably painless when consumed. “The First Name” and “Contra” with Nilam Farooq, who now plays training teacher Sarah Schuster in “Locked In Society”, will be followed in the fall by “First Name” sequel “The Last Name” – in which Florian David will once again take part i Fitz, who is a physical education teacher Peter Mertens with a passion for schoolchildren. Opponents of Fila are Heidi Lohmann (Anke Engelke) and Klaus Engelhardt (Justus von Dohnányi), who, as old school teachers, hold the principle of success. A nerdy chemistry teacher and a soft omniscient complete a variety of cliché-loving characters.
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She is moved by her father Prohaska (Thorsten Merten), who sees his son’s bright future diminish as Fabian lacks one point to be admitted to high school. With arms in hand, he will force the stubborn faculty to hold an extraordinary classification conference. Kammerspiel, of course, spiraled out of control and eventually turned away from the puns into sentiment. Even Heidi Lohmann’s love trauma, rejected by chansonnier Georges Moustaki and used by old virgin clichés, comes to light in flashback. That doesn’t help the satirical move. As a schoolgirl, you thought teachers were just vulnerable people.
It remains unclear where Locked-in is heading, despite the many goals that the education system offers. Parental ambitions, authoritarian teachers from the old school, too much or too little discipline, digital backwardness, generational grip, class – every topic gets a few spikes. Wortmann’s most fun pound is casting. Justus von Dohnányi in particular shines like an arrogant Latin American who knocks his soft younger colleagues over his ears with his double meter. Until your integrity falls apart. (In 27 Berlin cinemas)