The sum of my parts

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Movie
Original title The sum of my parts
Country of production Germany
original language German
Publishing year 2011
length 117 minutes
Age rating FSK 12
Rod
Director Hans Weingartner
script Hans Weingartner
Cüneyt Kaya
production Jonas Dornbach
Hans Weingartner
music Bjorn Wiese
camera Henner's visit
cut Dirk Oetelshoven
Andreas Wodraschke
occupation

The sum of my individual parts is a German film by the Austrian director Hans Weingartner from 2011. The film drama depicts the fate of the young mathematician Martin Blunt, who is left with nothing after inpatient treatment in psychiatry.

action

After a six-month stay in psychiatry, Martin loses his job, picks up his things from his ex-girlfriend and isolates himself. He feels persecuted and it is more and more difficult for him to tame reality with his numbers. Beyond the columns of numbers, on the outskirts of town, he meets a mysterious boy named Viktor, who only speaks Russian. Together they flee into the forest. Far from the constraints of everyday life, they start a new life, build a hut and become friends. You wander through the forest, across meadows and on the banks of the lake, experience the wilderness glittering in millions of colors. But it is only a matter of time before you will find Martin there too.

After a forester discovered him and had his hut destroyed, Martin was arrested, but was able to flee before he was again admitted to a psychiatric hospital. While on the run, he stole a police officer's service weapon and used it to extort money from a wealthy man who had run into him months earlier and had committed an accident. With the money he wants to go to a hippie commune in Portugal with his friend Viktor and a young woman he has met. On the way there, reality catches up with him one last time.

Awards

Nomination for the German Film Prize 2012 in the categories “Best Director” (Hans Weingartner) and “Best Acting Achievement - Male Leading Role” (Peter Schneider).

Rating: Particularly valuable.

criticism

  • As he has already demonstrated in his best-known work, "The fat years are over", Weingartner again criticizes the system in "The Sum of My Individual Parts", which is all too easily derived from the opposition between the individual and society. From the beating father to the strict doctor to the tough police officers, the "others" are without exception crude, robot-like representatives of the wrong person. But the film shows its strong, gripping side where it turns to its two main characters, in an almost irritatingly cautious, even tender way. How they hug each other, protect each other, look after each other - there is a secret in their relationship that Weingartner gradually reveals. When you finally understand it, you know about Martin's "madness", but also see how masterfully he knows how to protect himself.
  • In his new film, Weingartner builds on his debut The White Rush (2002) in terms of both content and form, and again tells the story of a mentally ill person and his lockout from society. And wherever he relies entirely on the representation of the perception of his character, the sum of my individual parts is really strong. (...) The imagery and Schneider's sensitive portrayal of a disintegrated figure create an impressive inner and outer topography - it's a shame that Weingartner doesn't leave it at that. (...) In general, the sum of my individual parts seems to be most at risk when there is a lot of talk. Especially in the “institutional” dialogues, such as with Martin's former boss, with the bailiff or with the therapist, the tone quickly changes into stiff evidence, in which the official side seems to have put the words in the mouth. One could maliciously say that it is good for the film that it largely focuses on the German-Russian wheel break between Martin and Viktor. (...) But it may be pointless to accuse a Weingartner film of its Weingartnerism.
  • Even if the film takes a lot of time in places, it always captivates the viewer with new events and incidents. Weingartner, director of THE FETTE YEARS ARE OVER, consistently and precisely describes the fate of the protagonists and uses this to establish his fundamental criticism of institutions. Peter Schneider embodies this failed existence in an impressive way. A cleverly staged disturbing drama, which also leaves a lot of space for your own interpretation and consideration due to its open end.

Web links

Individual evidence

  1. ↑ Release certificate for the sum of my individual parts . Voluntary self-regulation of the film industry , January 2012 (PDF; test number: 128 652-a K).
  2. ↑ The sum of my individual parts ( Memento from March 21, 2014 in the Internet Archive ) ARD-Mediathek. Retrieved April 2, 2014.
  3. ^ Jury statement for the German Film and Media Assessment
  4. ↑ Barbara Schweizerhof Beyond Normality , taz.de, February 1, 2012 . Retrieved April 2, 2014.
  5. ↑ Maurice Lahde critic.de of December 30, 2011 . Retrieved April 2, 2014.
  6. ↑ German film and media rating FBW press release . Retrieved April 2, 2014.