Refined handsome Blokhin is looking for the killer of his daughter in order to help him make the transition from our world to the best as soon as possible. As bait, Blokhin uses Feline Nogley, the killer's mistress. Blokhin brings her to Berlin, where the girl dies unexpectedly. Now, Blokhin and his comrades move into the status of suspects in the case, and they are looking not only for Felina's lover, but also for the Berlin police. . .
In order to fully enjoy this film, you do not need to watch the series. Director Glassner will explain all the incomprehensible moments, and will do it repeatedly, apparently in order to get to the fastest mind. The banal police procedure gradually develops into an ancient tragedy. Here and: widely advertised by one Viennese crook "Oedipus complex" and the history of fraternal "love - hatred" (if you want, you can draw here a biblical story about Cain), and the grief of inconsolable parents who lost their daughter, and the all-powerful, ruthless, inexorable Russian mafia. . .
The film turned out to be good, very light, splashing with positive emotions. The director skillfully lifts the mood with a dark background, rain, frantically and non-stop pouring from the invisible firepoint throughout the film, and an abundant Russian mat. The meticulous and cold Germans show such passion, such nerve, that you inevitably wonder: Deutchland, are you? Resembling a skinhead from the saints of the nineties, Blokhin (shaven head, orange-lined bomber, beads) demonstrates such rage and anger, he is so organic in his hatred that it is impossible not to believe him. He is so tenacious, and (most importantly) habitually grabs Feline by the throat, and so ruthlessly rattles this insolent girl that I personally have the feeling that I see a professional at work. The guy knows how to win sympathy. Dale Carnegie is a miserable amateur compared to him.
I disagree with those who think German is rude, barking, and suitable only for military parades. In this film, the Teutons demonstrate the advantages of their language over ours. Everything that sounds vulgar, they soften, even our three-letter curse in their performance sounds sublime and poetic. They say a hard "u" lyrically, invitingly, in their performance it sounds like "yuyi". So when Felina sends her lover, it sounds romantic and tender. Imagination immediately draws a pastoral with a quiet sound of a shepherd's flute in the background. The Germans say Blokhyn instead of Blokhin, they do not change the accent even when they bow the name. "Flea needs help," "Flea doesn't feel well." In that sense, the film is very Russian. We (finally!) find out why Shukshyn shot at Blokhyn, the performers of the roles of Felina and Kirill will be cursing ineptly and tenderly, and the role of Magda is played by Agnieszka Pivovarska. From all this Slavicism in the frame, I just stunned, and felt at home.
The director picked up Blokhina a very colorful team. His closest friend Dominic (a gray-eyed Teuton with the appearance of a member of the Einsatz team) is experiencing a difficult affair with an aunt from the government, weak in spirit, poor Yorik, will discover the charms of sadomasochism, and Nanet (a pretty girl with the face of the heavy drinker of the first president of the Russian Federation) will perfectly play the role of a bullet gunner.
If to be serious, then the movie is worth it, it compares favorably with the murky mass of current filmmaking. It is a story of revenge (and not alone), love, pain and forgiveness. The director uses such a technique as inversion of roles. Persecutors become persecuted. The intricacies of the police investigation are punctuated by political intrigue and bureaucratic scheming. There is sincerity and frankness here. In fact, nothing else could be expected from the director who made Free Will.