|Original title||Kombat sixteen|
|Country of production||Germany|
|Age rating||FSK 16|
Susann Schimk ,
|cut||Markus CM. Schmidt|
Kombat Sechzehn is a German film by Mirko Borscht from 2005. It deals with the drifting of a young person with no perspective into a violent, right-wing extremist scene, the inability of the social environment to intervene in a helpful way, and the chance to get out of the right-wing extremist scene.
Plot of the film
The 16-year-old Georg, who has just qualified for the Hessian national championship title in Taekwondo , has to move with his father from Frankfurt am Main to Frankfurt (Oder) because he has received a major order as an architect for a German-Polish shopping center. Georg had previously grown up in a multicultural environment and has a black girlfriend, the daughter of his coach from the USA . Through loneliness and the loss of his martial arts career, he loses his inner balance. Through Thomas, a new classmate, he comes into contact with the right-wing extremist scene, which he initially rejects. However, it quickly becomes apparent that the apparently incompatible worlds of Georg and Thomas have a lot in common. Slowly a friendship develops between the two, which has its connection point in the martial arts and the frequent quotations of the two of them highly esteemed work The Art of War . The environment, especially Georg's family, reacts in an undifferentiated and hysterical manner to his relationship with people from the right-wing extremist scene, but does not offer him any meaningful support.
After he found out on a visit to Frankfurt am Main that his girlfriend was cheating on him, he found refuge in his desperation only with his right-wing extremist comrades. In one of the core scenes of the film, in a situation that, according to the director, is supposed to be reminiscent of self-mutilation, he cuts his hair partially with the shattered mirror of a train compartment, then his right-wing extremist friends give him the "mutilated" and bleeding head completely shaved, who then all shave their heads in an act of solidarity. Georg has now entered the right-wing extremist scene from the perspective of his surroundings.
But tensions within the right-wing extremist clique are becoming more and more frequent, with Thomas trying to mediate between Georg and the others. When the drunken, frustrated right-wing extremist attacks an apparently left-wing youth, Georg supports him. This makes him a victim himself. Thomas now has to finally choose between his new friend Georg and his comrades. An extremely violent scene follows in which Georg and Thomas are brutally beaten up by the others. The film ends up optimistically; the two obviously decide to get out of the right-wing extremist scene.
At the end, with a glance at Georg and Thomas, who are practicing together in the social worker's dōjō , a curtain falls, indicating that there is still a long way to go and that they are now under difficult conditions (including everyone involved in the act of violence Parties still at large) still have to assert.
"Without hasty distancing and moral index fingers"
“[The] lovelessness in the design and recording of rooms paired with the script defects and the ambitious but immature and not very elegant imagery can unfortunately by no means be made up for by gripping play. Florian Bartholomäi acts wooden throughout and thus sets the tone for the drama. "
“Markus and his friends from Frankfurt an der Oder fulfill every conceivable East Nazi cliché (...) Georg from Frankfurt am Main bursts into this clique (!), Beats up the Nazis - but then joins them. Why? The filmmakers don't seem to know that very well themselves. It's a shame, because the young actors are quite passable. "
"This is a film that shows weaknesses, that provokes and divides its audience - not a softened, over-correct film of reconciliation."
"A kick in the face"
"[Despite a few problems] it is a surprising, visually impressive and theatrically above-average German film that does not need to hide behind comparable US productions or significantly more expensive German films."
In various film reviews it was claimed that the song Immortal , which appears as the right hymn in various scenes, was a song by the Böhse Onkelz. In reality, however, this song comes from the band classification created especially for the film . The song If You Really Want is only used by the Onkelz in the optimistic end credits and this stands for the chance to change one's life and to get out of the right-wing scene, both in terms of film dramaturgy and text. In some reviews, this misinformation gave the impression that the Böhsen Onkelz had contributed right-wing extremist music to the film, which the filmmakers criticize in the audio commentary on the film.