Because you are mine

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Movie
Original title Because you are mine
Country of production Germany
original language German
Publishing year 2019
length 88 minutes
Rod
Director Alexander Dierbach
script Katrin Bühlig
production Simone Höller,
Michael Smeaton
music Sebastian pill
camera Ian Blumers
cut Biljana Grafwallner-Brezovska
occupation

Because you belong to me is a film drama by Alexander Dierbach from 2019 , in which the phenomenon of parent-child alienation (English Parental Alienation Syndrome, PAS ) after a divorce is discussed. Julia Koschitz can be seen in the role of a manipulative mother, Felix Klare as the father, who cannot counter the process of alienation, and Lisa Marie Trense as the daughter Anni, whose change is noticeable.

action

The former couple Julia and Tom are on trial again after the divorce : It's about custody of their eight-year-old daughter Anni. At the hearing of the child in the proceedings, Annis's estrangement from her father becomes evident. How could it come to this?

The world looks different right after the divorce. Joint custody was agreed, whereby Anni continues to live with her mother and spends every other weekend with her father, whom she loves very much. Tom has a new partner who also has a daughter, and since Anni gets on well with both of them, something like a new family grows together on the weekends. However, Julia is still deeply hurt by Tom's breakup. As a result, it seems as if Tom is no longer keeping the appointments with his daughter, which little Anni can not understand. Her mother offers her explanations: It's because of Tom's work and his new family, who now need their father all the time. In fact, Tom always stands in front of closed doors when he wants to pick Anni up from her mother. From Julia he only hears reproaches that he is not doing Anni well and that it is his own fault that the family has broken up. In fact, Julia tries to bind her daughter closer to her and push Tom out of Annis' life with the help of her lawyer Martin Wolters. The conflict escalates more and more, which Anni increasingly disturbed.

When Tom tries again to pick up Anni, he finds out that Julia and Anni have moved into the vicinity of her parents and that the child has not only snatched away from his circle of friends, but also has to get used to a new school. Julia gives her daughter a new cell phone that allegedly has the new number that Tom had for a short time already. Annis attempts to get in touch with her father by phone are unsuccessful. The child doesn't know that her calls end up on her mother's second cell phone. Julia also succeeds in using unclean means to enforce a three-month ban on contact between father and daughter with the help of her lawyer. The long-planned diving trip to the Red Sea, which Anni had been looking forward to, also falls during this period. Since Tom is not allowed to contact his daughter, he cannot tell her that this trip with Anni is no longer possible. Julia on the other hand, who knows very well what is going on, pretends that Tom has forgotten Anni about his new family. She drives the child to Tom's house on the alleged departure day and of course stands in front of closed doors. Ignoring her child's suffering, she pretends to have made an appointment with Tom and even waits an hour with her daughter in front of the house. Back home, Anni throws away her diving goggles and smashes her cell phone, the alleged connection to her father.

When Julia is forced to re-allow contact between father and daughter at the end of these three months, she tells the child that her father wants to see her again after three months of not being heard from him. The reunion will be a fiasco. Ms. Gärtner from the youth welfare office advises Tom to find out more about the technical term PAS. Tom realizes helplessly that he has almost no way to defend himself against the lies of his ex-wife. Julia herself doesn't shy away from accusing him of taking inappropriate photos of Anni. Desperation is written on his face when he resignedly explains to his new partner Jenny that his ex-wife is throwing him out of his daughter's life; he was only a financier, but no longer a father.

It turns out that the alleged psychotherapist Britta Waibel is actually only a non-medical practitioner and has repeatedly worked with the lawyer on the other side, whereby her so-called expert opinion was always in the interests of the lawyer's respective client. The therapist Doris Jahn, appointed by the court, tells Anni in words that don't sound like a child at all, why she doesn't want to see her father anymore. This time Julia actually wins, she is given sole custody of Anni. When Julia receives another summons in court because Tom does not want to give up his child, she manipulates her daughter again to force her own point of view on her.

The now scheduled trial before the Higher Regional Court takes a different turn than Julia in particular had imagined. The judge decreed that the parents should get together in the interests of the child and re-establish contact with one another in counseling sessions. A decision on parental care for Anni will only be made after a three-month period. When Anni is then brought to her father by her mother, she explains to him that she is only there because she has to and that her mother will not get into trouble. She stops her father's attempts to make contact by disappearing into her room and closing the door behind her.

Production, publication

It is a production by FFP New Media GmbH on behalf of SWR for Das Erste . In the end credits of the film it says "For Gitta Uhlig †". Uhlig was the casting director for the film.

The film premiered on July 1, 2019 at the Munich Film Festival and was broadcast on February 12, 2020 in the ARD Das Erste program.

reception

Audience rating

When it was first broadcast on ARD, the film was watched by 4.45 million viewers, which corresponds to a market share of 14.5%.

criticism

The film received overwhelmingly positive reviews. Both the acting achievements of the three main actors and the portrayal of an unpleasant and therefore neglected contemporary social syndrome surrounding the role of mothers after the parents' separation were praised . With a view to the at least 100,000 separated children affected annually in Germany alone, actors in the father movement emphasized that this was only the third film after the film The Disposable Father (2009) and Father Landscapes (2016) to address this socially relevant topic, that of the media and politics are mostly avoided.

“After the divorce, a mother thwarted the daughter's contact with her father with great sophistication. There is also the other way around - in real life. A real problem of our time. "

- Festival of German Films

"The phenomenon is bitter reality and has a name, namely 'PAS' (Parental Alienation Syndrome), a topic of the highest relevance and topicality."

- Biberach Film Festival

Rainer Tittelbach gave the film five out of six possible stars on his page tittelbach.tv and wrote: “Author Katrin Bühlig and director Alexander Diebach describe this tragic, well-researched process of alienation in which the woman is always the active one and the man plays the role of Responding is urged very objectively & in an appropriately restrained staging until the final dispute at the higher regional court. By relying on the chronology of events, Bühlig developed a dramaturgy of disasters that handled the subject responsibly, but contained few surprises. Nonetheless, we wish this production, which includes Julia Koschitz, Felix Klare and Lisa Marie Trense, to have as many viewers as possible. The topic deserves it. "

Patrick Rösing found in Stern that the film was “disturbing”, presented a “socially highly relevant topic and grabbed the audience for the entire season”. The father figure is recognizable as a sympathizer, while the mother is likely to cause mixed feelings among the audience. "Julia Koschitz [admit] not just the bad, but evidently [e] as Julia in many moments a great inner turmoil and vulnerability." Regarding Lisa Marie Trense as Anni, Rösing said that everything was "pretty for the viewer painful to look at, which is not least due to the impressive performance of the little leading actress. In any case, all major roles are well occupied. Director Dierbach narrates "the plot without any great showmanship - the emotional impact of the subject is also so completely rich".

Tilmann P. Gangloff dealt with the film in the Stuttgarter Zeitung . The critic wrote, 'Because you belong to me' is "a depressing, but outstandingly well-acted drama with Felix Klare as the discarded father and with Julia Koschitz as the mother who manipulates her child". Since "the drama is almost inevitably a tightrope walk", the casting of the female lead with Julia Koschitz is "all the more clever". All those involved benefited "from a carefully researched, differentiated script". Koschitz [...] is "already outstanding in everything she does". Clearly master "the challenge exemplary" [...]. The “performance of little Lisa Marie Trense” is “simply phenomenal”, and that “with only three hours of shooting per day” (more is not allowed with small children). The only “through and through one-dimensional and correspondingly despicable figure” is Tom's mother-in-law, played by Teresa Harder, for whom “a few scenes are enough” “to give an idea of ​​why Julia is the way she is: this woman [is] still more manipulative than her daughter ”.

In the Frankfurter Allgemeine , Heike Hupertz took the view: “Old-fashioned parenting roles of astonishing one-dimensionality: The ARD film 'Because you belong to me' brings a partner conflict to extremes without finding an end.” She also found “a certain character complexity and less black and white like the psychological conflict drawing board would have done the film as a whole good ”. In the “last third, the explications of the 'Parental Alienation Syndrome' issue are so prevalent that understandable commitment becomes simple partisanship”.

Ernst Corinth, who belongs to the RND , saw it similarly, the roles were “clearly assigned”, the “mother” was the “evil avenger”, the “father” the “desperate victim”. This is a “far too clear division of roles between good and bad”. The script came from a woman, which was "important in this context". Although it is "wonderfully clear that divorce wars are a lucrative business for lawyers and appraisers" - which is "a very interesting aspect", "one would have preferred to have known more about the sensitivities of the actors and the background of their actions".

Awards

Web links

Individual evidence

  1. ↑ Custody battle - Because you're mine. Südwestrundfunk , February 22, 2019, accessed on December 17, 2019 .
  2. ↑ a b TV film "Because you belong to me". Julia Koschitz, Felix Klare, Trense, Bühlig, Dierbach. Father-child alienation
    see page tittelbach.tv. Retrieved February 13, 2020.
  3. ↑ Fatherland landscapes, documentary film. Retrieved February 4, 2020 .
  4. ↑ Der Spiegel : Benjamin Schulz: "Vaterlandschaften" - film premiere in Berlin: The prevented father. Retrieved February 4, 2020 .
  5. ^ Franzjörg Krieg: The system
  6. ↑ Because you belong to me , Festival of German Films 2019.
  7. ↑ Because you belong to me , Biberacher Film Festival 2019.
  8. ↑ Patrick Rösing: What is “Because you belong to me” about? In: Stern , February 12, 2020. Retrieved February 13, 2020.
  9. ↑ Tilmann P. Gangloff : TV tip: "Because you belong to me" in the first - The toxic fight for a child In. Stuttgarter Zeitung, February 11, 2020. Accessed February 13, 2020.
  10. ↑ Heike Hupertz: " Because you belong to me" in the first - father, mother, torn child. In: Frankfurter Allgemeine Zeitung , February 12, 2020. Accessed on February 13, 2020.
  11. ↑ Ernst Corinth: "Because you belong to me": Lucrative war of divorce with Julia Koschitz and Felix Klare In: RND , February 11, 2020. Retrieved on February 13, 2020.
  12. ↑ Bernd Burgemeister TV Prize 2019 see page vff.org
  13. ↑ Prize for the art of acting to Julia Koschitz see page Festival des Deutschen Films 2019.
  14. ↑ Awards on the side rainerlaupichler.de