Tiger girl
| Movie | |
|---|---|
| Original title | Tiger girl |
| Country of production | Germany |
| original language | German |
| Publishing year | 2017 |
| length | 91 minutes |
| Age rating |
FSK 16 JMK 16 |
| Rod | |
| Director | Jakob Lass |
| script | Jakob Lass, Ines Schiller , Hannah Schopf , Nico Woche , Eva-Maria Reimer |
| production |
Ines Schiller , Golo Schultz |
| music | Golo Schultz |
| camera | Timon Schäppi |
| cut |
Gesa Jäger , Adrienne Hudson |
| occupation | |
| |
Tiger Girl is a German movie from 2017 directed by Jakob Lass . The film was shown at the Berlinale 2017 and opened in German cinemas on April 6, 2017.
action
Tiger and Vanilla, two young women in their early twenties, live in Berlin . Tiger lives in a flat share with two men of about the same age in an attic or alone in a discarded bus; Vanilla is currently completing an apprenticeship as a security woman after failing the police entrance exam. The paths of the two cross three times before the decisive encounter takes place: Vanilla is massively harassed on an abandoned subway platform by three drunk young men at night when tiger appears out of nowhere and the attacker almost using martial arts technology and a baseball bat defeated single-handedly. Vanilla, who had been anxious and insecure until then, actively intervenes, and the mutual success creates a kind of friendship between them.
Strengthened by the authority of security uniforms that Vanilla has procured, the two of them go on forays through the city together to track down passers-by, who they deceive, demonstrate and usually also "pull off", that is, rob them. At the beginning they are mainly concerned with gaining pleasure. Since Tiger apparently only provides for the livelihood of her three-person flat share, material enrichment also plays a role from the outset. She only becomes a primary target when one of the two men pretends to be under severe threat from a dealer over outstanding debt . Tiger gets the money without her boyfriend knowing about it, but discovers that he has deceived her.
Vanilla, for its part, is changing rapidly and becoming more and more confident. In her security training group, too, she is more and more noticeable for her unruly behavior. With her trainer, she gets into a permanent clinch, and it turns out that Vanilla lacks the ability to recognize boundaries. This deficiency is also increasingly affecting her relationship with Tiger. Her forays - first with Tiger, then with two security students who were evicted with her - are noticeably derailing because Vanilla experiences the use of violence as a rush of power and turns it into an end in itself. Tiger's criticism no longer reaches her, so that the two finally attack each other and part ways again.
analysis
Hannah Lühmann bundles the film plot and the main difference between the two protagonists in two sentences: “Tiger shows Vanilla how to be self-confident and how to exercise violence. But Tiger can control violence, Vanilla cannot. "Lass himself says:" Tiger has values, Vanilla only feelings. "
Of the real names of both women, one learns only the Vanillas (Margarethe Fischer); also her place of origin ( Bochum ) and her professional goal (policewoman). Tiger baptizes her "Vanilla" (or "Vanilla the killer") after their first joint action in the subway and introduces herself as "Tiger" (pronounced in English). After all, she shows how and with whom she lives in Berlin, whereas this remains completely open to Vanilla. The viewer also learns practically nothing about their past lives. With reference to Tiger, Lühmann states that she has “no history” and “does not need an absent father, no messed up family relationships to underpin her anarchist rude.” Christine Stöckel points out that studies on violent films have shown that the viewer can tolerate violence more easily "If she is motivated, it makes a deeper sense", but adds that its absence in Tiger Girl is intentional. Lühmann argues that female violence does not have to be “laboriously justified by any rape or abandonment trauma”, heroines like Tiger and Vanilla are possible today without such “explanations” - unlike a figure like Black Mamba from Tarantino's Kill Bill .
As a further comparative figure, Lühmann brings in Alex from Kubrick's Clockwork Orange , who acts similarly without a “story”, and says that Tiger is moving at his height. Tobias Kniebe asks whether Tiger Girl was intended as a kind of “violent echo” to Captain von Köpenick , where a fake uniform wearer also seizes power. The most frequently mentioned reference figure is Pippi Longstocking . What she is for Annika in Lindgren's trilogy, says Lühmann, is tiger for Vanilla - the "empowerment fantasy of a girl who was brought up to be good, the invisible friend one longs for when the adults are mean to you".
criticism
The reviewers are almost unanimous that Tiger Girl has a strong impact. Hannah Lühmann and Juliane Liebert say almost identically that after the film you “feel like beating someone up”, Tobias Kniebe speaks of an “adrenaline shock”, and Hanns-Georg Rodek emphasizes that the film is bursting “with the element that is German cinema is missing the most: from energy. "
The critics' judgment is less in agreement on the point with which this energetic charge is organically connected: violence. Christine Stöckel asks whether violence can be “heroized” just because the main character is female. Lühmann notes that the violence shown at the beginning appears "like magic" and that you implicitly agree to the violence exercised by Tiger because it is "good" because it is directed against people "who you find somehow stupid anyway". Rodek, however, refuses to give Tiger a "working code of honor". He praised the director first for not immediately raising the “condemnation club” against the “anti-social and criminal energy” emanating from the two young women, and then also for not presenting their violence as a “solution”, but on the contrary as "Path to Destabilization". As evidence, Rodek refers to two scenes in which they suffer defeat. The first meets both of them when they want to stir up a vernissage , but are surprisingly beaten by the petite PR lady at her own weapons, the second vanilla alone when she is twice - physically and morally - shipwrecked towards the end of the film by ( together with her new "gang") threatened a young man just as massively as it happened to her at the beginning in the subway. Unlike Rodek, who certifies that the director had a plan and kept the strings in hand, Tobias Kniebe has the impression that "[Jakob] Lass and his gang basically went like their heroine", because she too would have "created a monster, which in the complexity of its energies and associations more and more eludes control". For Knees there is a “ fascism alarm ” when people “put on some kind of fantasy uniform, flatten everyone in street battles and then see how far you can get”. Tiger's key phrase “You just have to say what you want and then you get it too” could very well be “the motto of another, much more recent seizure of power”.
production
Since Love Steaks , the predecessor of Tiger Girl , was an indie film that was made with practically no budget , the collaboration with the industry giant Constantin was perceived, according to Lass' own admission, as an "unusual pairing". However, he was given full freedom in terms of content and even contractually granted the right to finalize the cut .
Was shot Tigergirl of 28 July to 14 November 2015 in Berlin .
Like Love Steaks , Tiger Girl is known as FOGMA-Film. “Fogma” stands for “Fuck Dogma” and, according to Lass, for a way of working that generally questions “fixed rules of filmmaking” and specifically combines, among other things, “game scenes with a documentary environment”, allowing professional actors to meet amateur actors and that conventional script dispensed with. Although scriptwriters are named, the specifications were reduced, so Lass further, to "a kind of script", "skeleton scenes" that outline the "dramaturgical arc". The dialogues themselves then arise between the actors on the set . To make this possible, he prepares extensively with the actors; Even the casting takes much longer for him. In any case, the actor has priority over the technology on the set. That could lead to some recordings becoming a little blurry, but he consciously accepts that, because the cinema is “not about a banal idea of technical perfection”, but “about the story”, “about the power, the energy ".
Improvisation and technical imperfection are among the characteristics of Mumblecore films that Love Steaks was also committed to. Lass has brought the genre name "Martial Arthouse" into play especially for Tiger Girl , a combination of martial arts and arthouse . Hanns-Georg Rodek also suggests “anarcho tragedy comedy”, whereas other critics use more common terms such as coming-of-age film or comparatively the development novel.
In addition to the music by Golo Schultz , the film contains songs by the electro pop band Grossstadtgeflüster , including “Piss at the end of the world”.
Awards
The film was selected for the 2017 German Film Prize .
Web links
- Tiger Girl at the Internet Movie Database (English)
- Official page for the film
Individual evidence
- ^ Certificate of Release for Tiger Girl . Voluntary self-regulation of the film industry (PDF; test number: 163103 / K).
- ↑ Age rating for Tiger Girl . Youth Media Commission .
- ↑ a b c d e f Hannah Lühmann: Always firm druff. In: Welt am Sonntag . 2nd April 2017
- ↑ a b c Hanns-Georg Rodek: With this film, German cinema will be cool again. In: The world . February 13, 2017. Retrieved April 22, 2017.
- ↑ a b c Christine Stöckel: Women who hit. In: The daily newspaper . February 10, 2017. Retrieved February 12, 2017.
- ↑ a b c d Tobias Kniebe: Wild, brutal, female. In: Süddeutsche Zeitung . February 10, 2017. Retrieved February 12, 2017.
- ↑ Juliane Liebert: Think, feel, act. In: Süddeutsche Zeitung . April 5, 2017. Retrieved April 21, 2017.
- ↑ a b c Hanns-Georg Rodek: Never say sorry again. In: The world . April 6, 2017. Retrieved April 21, 2017.
- ↑ Tiger Girl. In: rbb-online.de. Retrieved February 11, 2017.
- ↑ “Don't be afraid.” Interview with the director Jakob Lass In: Süddeutsche Zeitung . April 6, 2017
- ↑ The preselection 2017. ( Memento of the original from May 18, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: deutscher-filmpreis.de. Retrieved February 17, 2017.
