The relativity theory of love

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Movie
Original title The relativity theory of love
Country of production Germany
original language German
Publishing year 2011
length 96 minutes
Age rating FSK 12
Rod
Director Otto Alexander Jahrreiss
script Otto Alexander Jahrreiss
production Thomas Peter Friedl ,
Nico Hofmann ,
Otto Alexander Jahrreiss,
Manya Lutz-Moneim ,
Nina Maag
music Martin Todsharow ,
Stefan Broedner
camera Hannes Hubach
cut Piet Schmelz
occupation

The relativity theory of love (or pigeons on the roof ) is a comedy by the director Otto Alexander Jahrreiss , which was first released in Germany on May 26, 2011.

action

The actors Katja Riemann and Olli Dittrich slip into the role of lovers in five interwoven episodes. The five couples are always united by the search for happiness in love, even if the protagonists couldn't be more different. The film records the confusions and misunderstandings of love in a tragic and funny way and gives the viewer the impression that even the simplest character can find a suitable partner at some point.

Story 1

For the sake of his teenage son Hanno, the agency boss Frieder tries to reach his wife Eva with an advertising campaign in order to save his marriage. But his wife is esoteric and has long been floating above all target groups. He has been comforting himself for 15 years with Eva's twin sister Maria, who has stayed with both feet on the ground. However, Frieder suffers from the fact that there is radio silence between him and his son, which he tries to bridge with this advertising campaign.

Story 2

Driving instructor Paul, who, unlike his wife Gabriela, shows his age, wants to take revenge on his wife after 35 years of marriage with an affair. Because Gabriela, with her still youthful appearance, likes to flirt with other men, Paul irritates this provocative demeanor to the point of white heat. And since, in his opinion, Gabriela meets her dance teacher far too often, he is convinced that she is cheating on him with the "gigolo" and wants to get back with her with the same coin. The man only dances professionally with women and is only interested in men privately.

Story 3 and 4

These stories are closely linked to number 2, because the cool but notoriously lonely Alexa is Gabriela's and Paul's 30-year-old daughter. She has long been driven by an insatiable desire to have children, and since she does not seem to find a partner in the usual way, she contacts an appropriate agency. There she meets sperm donor and keyboard player Stevie Lehmann, who has a very special way of looking at things. That impresses her and she befriends him. But as luck would have it, Stevie is taking driving lessons from Alexa's father. On the very day Alexa wants to present her new boyfriend to the parents, Stevie Paul's company car wrecks.

Story 5

The strict and dutiful officer Peggy comes across the actually sympathetic Youssef al Bustani, the owner of a Lebanese snack bar "Beirut", during her controls of restaurant kitchens, which she has to carry out on behalf of the health authorities. Based on the deficiencies in her opinion, Peggy asked him to immediately install non-slip tiles and a splash guard. But he lacks the money for these supposedly necessary conversions. Without further ado, Youssef rings the doorbell of the withdrawn Peggy. "Armed" with a bouquet of flowers, he tries to impress Peggy and talk to her in peace. Although she tries to ignore his warm and irresistible manner, she realizes that her externally tough official shell seems to be getting cracks.

background

The eponymous relativity theory of love was developed by the sperm donor and keyboard player Stevie Lehmann, who appeared in one of the episodes. It says: “Whether or not the spark will jump is ultimately decided by the repeated unity of time and space, or in short: Only people who are in the same place at the same moment can fall in love. The chance that has to help so that the lovers find each other is relative. "

Make-up artists Gregor Eckstein, Brigitte Frank, Jeanette Latzelsberger and Michele Thevenet took on the challenging work of changing the actor's appearance.

In an interview, the main actor Olli Dittrich said that he saw the complex work of the make-up artist as a challenge in itself to try out more and more daring things. He also used the time of the daily procedure for morning meditation: to close his eyes and just sit there in silence and motionless. So he could "wander over" into the other character at the same time and slowly. When he opened his eyes he found himself in his new role.

Reviews

The Süddeutsche Zeitung said: “Not a milestone in film history, but quite funny. Dittrich and Riemann do their job really well, the characters are funny, and the principle of multiple roles pokes fun at the little tree-changing genre from the start. "

Hannelore Heider from deutschlandfunkkultur.de wrote: “The comedy thrives on […] of course hardly differentiated, but original characters who, given the abundance of staff, have to be played precisely so that the viewer always knows immediately which scene they are in. The joy of playing is carried over to the inclined viewer, who should like the two actors, because the humor is not as original as the character constellation. The performance of the make-up artist and the dramaturgically efficient editing make 'The Relativity Theory of Love' harmless, enjoyable cinema fun! "

welt.de : "Even if, as is usually the case, a constant role reversal alone does not necessarily fill an entire evening, the pairing of Riemann / Dittrich alone is worth a visit to the cinema."

Wenke Husmann at Zeit online rated: “'The relativity theory of love' could have been an attractive project. Never before has anyone with just two actors occupied all of the leading roles. But too much seems as if the future television audience had already been anticipated in the movie, who during the film also went to get something to nibble or go to the toilet. The makers don't seem to trust the viewers to really want to follow them. "

For the film magazine artechock , Rüdiger Suchsland wrote: "This film has the depth of a saucer and the charm of a margarine advertisement."

Critic.de also made a similar assessment and came to the verdict: "This film proves one thing above all: More relative than time, space and love is the wittiness of German humor, which you sometimes wish would be sucked into a black hole." With a minimum of narrative dramaturgy and conflicts, Jahrreiss somehow lines up individual scenes in which the characters meet in different constellations somewhere. The scene in Berlin takes a back seat. "

The German Film and Media Evaluation FBW in Wiesbaden awarded the film the title valuable.

Web links

Individual evidence

  1. ↑ Release certificate for The Relativity Theory of Love . Voluntary self-regulation of the film industry , March 2011 (PDF; test number: 124 376 K).
  2. ↑ Production details at ufa.de, accessed on November 17, 2017.
  3. ↑ Two people, ten roles at focus.de , accessed on November 17, 2017.
  4. ^ Transformed Olli Dittrich at filmreporter.de, accessed on November 17, 2017.
  5. ↑ Possibilities of the mask at sueddeutsche.de , accessed on November 17, 2017.
  6. ↑ Filmktitik at deutschlandfunkkultur.de , accessed on 17 November 2017th
  7. ↑ Dittrich, Riemann, 10 roles and a breast hair toupee at welt.de , accessed on November 17, 2017.
  8. ↑ Wenke Husmann: Ten times two stars are not yet a hit on zeit.de , accessed on November 17, 2017.
  9. ↑ I'm not stupid! at artechock.de , accessed on November 17, 2017.
  10. ↑ Die relativity theory of love at critic.de, accessed on November 17, 2017.