|Country of production||Germany|
|original language||German , Portuguese , English , French , Spanish|
Mario Krause ,
Benjamin Kaubisch ,
303 is a German "Love roadmovie " by Austrian director and screenwriter Hans Weingartner from the year 2018 . The "Anti- Tinder film" is about the gradual rapprochement between two students, played by Mala Emde and Anton Spieker , during a one-week trip from Berlin to Portugal in a mobile home . The film premiered on February 16, 2018 at the Berlinale 2018 , where it opened the Generation 14plus section . The cinema release took place in Germany on July 19, 2018 and in Austria one day after.
The 24-year-old biology student Jule fails the last exam before the end of the summer semester. She is also unintentionally pregnant. Her mother presses for the drug abortion , but Jule hesitates. In order to include the child's father - Alex is writing his doctoral thesis in Portugal - she quickly sets off with her Mercedes Hymer 303 motorhome , which previously belonged to her brother who had died by suicide . Shortly after Berlin she takes Jan, a political student of the same age, who wants to hitchhike to Cologne and from there by bus to northern Spain to meet his biological father. Coincidentally, the two discussion-happy protagonists quickly end up on the subject of suicide, a sensitive issue for Jule; she overreacts and drops him off at the next possible place. - In the evening she lets in a man who raves about her classic car and is harassed by him. Fortunately, Jan, who has left his cell phone with her, comes up to her at this very moment and is able to drive away the attacker. A quiet conversation over tea relaxes Jule; she trusts Jan and asks him to stay with her. In the morning she even invites him to continue with her.
Soon a new dispute develops, this time about the question of what people naturally tend to do - competition (Jan) or cooperation (Jule)? They continue it when they temporarily leave the autobahn and extend a compulsory stop to a long relaxing walk and the first meal they have prepared together. Jan gladly accepts Jules offer to accompany her "another 500 kilometers". Coming to France via Belgium , they only drive country roads and continue to slow down. They enjoy picturesque landscapes, quiet places and hidden resting places, just as they have fun with everything that arises in the common routine around eating. Their conversations become more personal, if no less controversial; After the great human questions, it is now a question of the relationship between man and woman - among other things, what is decisive for its creation and its existence. Reality is not entirely left out; During one of the occasional phone calls with Alex, Jule tells him about her pregnancy - and is seriously disappointed by his cautious reaction. Jan tries to comfort her with an exquisite sweet, a tarte aux fries , and a first, still very tentative, tender touch. It is only too clear that they are both about to fall in love.
Before they admit this to each other, they have reached Jan's destination. In Jules' presence he sees his sire from a distance, but cannot bring himself to approach him and continues to drive with her. After their second encounter with the Atlantic , including Jan's impressive premiere ride on a surfboard , and a hike from which both of them come back completely soaked and hypothermic, they finally give in to their feelings. In the morning Jule confesses to Jan that she is pregnant and a little later that she has decided to carry the child to term. He takes both calmly. In Porto , she bleeds, consults a gynecologist and learns that she has lost the embryo . When she arrives at her destination, she drops Jan in the center of the village before continuing to Alex - with a completely uncertain outcome. Jan is waiting. First he falls asleep in the café, then on the steps of the market square. In the middle of the night Jule returns in her 303; they both hug and kiss passionately.
A "dialogue film", a "combination of philosophy and love film", Weingartner "always wanted to make" since his engagement as a production assistant at Richard Linklaters Before Sunrise - the "mother of all love speech films", with which 303 is often compared. Weingartner was 24 at the time, exactly the age of his two protagonists. From then on, he collected ideas about ways to change the world and recorded them in a diary. This formed the basis for the script developed together with Silke Eggert, supplemented by the proceeds from around 200 recent video interviews, in which he got the impression that the young people interviewed are growing up earlier these days, so that some may say precocious statements by Jule and Jan can be trusted.
The idea for a road movie arose when Weingartner was on a tour while shooting his first film, Das weisse Rauschen , which was very similar to the one in 303 : in an old Mercedes bus that, like a "time machine", temporarily overrode reality, controlled by a hippie woman with whom he talked for hours about God and the world. Even as a child he loved such conversations. And later, this phase of getting to know a woman always made him feel elated. He wanted to do that himself in a film, based on Before Sunrise , but “a bit more personal, more emotional”, without Linklater's ironic distance.
Weingartner also wanted to avoid the usual dramaturgy of love films , in which the couple are separated after 20 minutes and then fight to get back together. That is more drama than love. What he wanted to capture, however, was the phase of falling in love, of gradual rapprochement. He therefore regards 303 as a “friendship film about two souls who meet and get to know each other”. Weingartner also wanted to leave his own reference film The Fat Years Are Over . Its eponymous protagonists were looking for a comparatively simple "solution" (away with the "bigwigs"), whereas 303 asked again more fundamentally what was "actually really wrong" and could be done differently.
“There is absolutely nothing random about the dialogues,” replied Weingartner when he assumed that they were improvised on the set . Nevertheless, the biggest challenge of his career so far has been to make it sound natural. Its size alone was one of the main obstacles that made it difficult to finance the film, which meant that the shooting could not be realized in 2013, as originally planned, but only two years later: from August 10 to October 12, 2015 in Berlin and Brandenburg as well in France , Spain and Portugal .
It was also not easy to find actors who were able to handle the amount of text of 303 . When the right people, Mala Emde and Anton Spieker, were finally nominated, Weingartner gave them plenty of time to rehearse so that they could "inhale" the script. There were also practical reasons for sticking to it: a road movie had to be well planned so that things went a little "zack zack" at the locations.
Weingartner originally submitted the film for the main competition for the Golden Bear at the 2018 Berlinale. He accepted the counter-proposal from festival director Dieter Kosslick and section head Maryanne Redpath to show 303 as the opening film for the “Generation 14plus” section with the comment that he was “clearly happy” with the decision. "'303'," Weingartner continues, "is all about competition breaking you, and the competition at the Berlinale is extremely tough."
Claudia Palma found in the Märkische Allgemeine that 303 was a wonderful film, an “anti- Tinder film”: Don't wipe it off, but a slow rapprochement between two souls. You see and hear the two of them spellbound throughout the film, and you are fascinated by the way they try not to fall in love with each other. The dialogues are so natural that it is hard to believe that they actually come from a script.
Kirsten Taylor wrote in the daily newspaper Der Tagesspiegel that Weingartner is returning to its roots with this film after the media satire Free Rainer - Your Television Lies . His characters always acted as counter-drafts to a capitalist society - all rebelled against the system in their own way. Jule and Jan from 303 looked like revenants of the lovers from The fat years are over , not least because of the same name . However, they are less radical in their actions, but just as critical in their thinking. “Landscapes and thoughts pass by and there is a flutter in the air because two people slowly discover each other - and not with a few clicks on the Internet. You want to do the same as Jule and Jan and drive off in an old box that is not in the fast lane. "
Martin Schwickert from Zeit Online said in his positive film review that Hans Weingartner had shot a love road movie that was as relaxed as it was clever. Schwickert praised Weingartner's dialogues because he put philosophy, natural science, criticism of capitalism and lots of steep theses about the human condition and the gender difference into dialogues with a seemingly light hand. One follows the increasingly lively conversations and wild associations between the two with excitement, because the speech duels reflect the freedom of non-preformatted thinking, which one is far too seldom allowed to sniff at in the cinema. “In addition, of course, there is the amorous elasticity that builds up so wonderfully slowly between the two. Mala Emde and Anton Spieker manage the trick of chopping out the dialogues that Weingartner has worked on over the years as if they had only just occurred to them. [...] This is where 303 sets new standards because Weingartner understands that travel is a form of existence that opens the heart and consciousness. "
Christian Buß of Spiegel Online described the film as “The film of the week - and the summer film of the year” in its equally positive film review. Opposite 303 , the relaxed, naturalistic palaver in Richard Linklater's Before Sunrise / Sunset / Midnight series with Julie Delpy and Ethan Hawke , whom one always feels reminded of here, seems staged with a strict hand. Christian Buß praised the main actors Anton Spieker and Mala Emde, who verbally played out the beautiful, gruesome and difficult state of limbo before the moment when one believed to recognize that love was manifested here. His conclusion: 303 is now, nobody would have expected it, to be the summer adventure of 2018. A film like the second before the kiss, only auspiciously spread out over 145 minutes. A film where you have the feeling that all this supposedly aimless talk about the world, about people, about society could lead somewhere. A film that calls out to the screen with joy: Now finally kiss you! "
The online platform film plus criticism, however, was more critical. The long running time and the fact that little happened in the second half of the film were criticized: “The problems in Weingartner's film only reveal themselves late: The first half of 303 is truly entertaining, the interesting conversations pass you quickly like the mountains and meadows on Jule & Jans mobile home. But from the point where it becomes clear that in the end they will probably become a couple (or at least end up "in the box"), the film celebrates this "physical approach phase" excessively. "
Awards and nominations
- 2018: Filmkunstfest Mecklenburg-Vorpommern - Young Actor Awards for Mala Emde and Anton Spieker
- 2018: Festival of German Films - Ludwigshafen Director's Award and Rheingold Audience Award
- 2018: Five Lakes Film Festival - DACHS script award
- 2018: German Film Music Award - nomination in the category Best Song in Film : Michael Regner for Magnet Balls
- Release certificate for 303 . Voluntary self-regulation of the film industry (PDF; test number: 179250 / K).
- Age rating for 303 . Youth Media Commission .
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- German Film Music Prize: Nominees & Prize Winners 2018 . Retrieved September 29, 2018.