German Morality and the French New Wave The debut of Reitz, one of the Oberhausenets, who began with experimental shorts, amazing. Something remains of them here, but from the very first flying, as if French shots, Reitz contrasts the desire for man and space (in art and in life). Elizabeth, a young girl with a tripod, and Rolf, a medical student of fragile prospects, bypass the shipyard "until their love goes bad" (Jann). The most impressive thing about the film is the feeling of love, first and second. First, Rolfe and Elizabeth go to the dunes, to the hayval, in the field of flowers. Elizabeth gives birth to a child, finds them an attic, convenes friends. Rolf drops out of school, runs away from home, gets hired, then another, but is increasingly destroyed from the inside. Probably because of Elizabeth's resilience, rooted in reality, full of the joy of life, regardless of Rolf, drowning in the waves of life. The second love – when Rolfa is gone – tries to forget that this is a repetition, and everything becomes prosaic and correct. The avant-garde exposition of the romantic message contained unprecedented generalizations in the forests, rivers and cathedrals where this idyllic catastrophe played out.
8 out of 10