In Vienna Petrolism, popular with equipment and camera, has recently succeeded twice in a row. This run brakes the new one Crime scene from the Austrian metropolis – in Knife (ORF editorial team: Bernhard Natschläger, Kerstin Bertsch) The scene of Enid Löser is looking for his luck in the grayish. That promises elegance and understatement. On the one hand.
On the other hand, gray is not called that. There are colors that go through life less cool and reserved. Greater tones are delegated to the outfit of assistant Meret Schade (Christina Scherrer), who has just become a mother and with a training jacket on the fashion on the fashion on the fashion side Street credibility should mediate. Unfortunately, this does not only work in interaction with the Olivesk Bibi (Adele Neuhauser) and the Blue Eisner (Harald Krassnitzer) Something tries (costume design: Anita Stoisits).
After all, the cool appearance in the static Kadragen (camera: Gero Lasnig) fits the scene in the Knife introduced. André Brauer (Daniel Keberle), head of a hooded restaurant, was murdered, as the star gastronomy is called in Austria. On the discrete world of top cooking art driven by perfection Crime scene some interest. In a sequence, the Hierarchy in the kitchen brigade went through what a little Leander Haußmann’s film
Solar avenue
(1999) Reminded. Then in a legendary scene Henry Hübchen’s slipper heroic man counted the one played by Detlev Buck ABV All armed agents to prove that he is a good GDR citizen.
Dem Crime scene However, it is not according to comedy, he is seriously looking behind the scenes from the best food. Stories from the pressure chamber of the high -performance company are offered: that the kitchen people “burn down” the wounds when they cut themselves, resort to medication or celebrate intensively to compensate. Unmittedly reports Lisa (Lisa Schützenberger), chief de game desserts, of the abuse of power that is in the scene: “Sexual harassment in the gastro – that’s like cutting onion.”
Lisa is the second of the possible suspects who are asked by the Bibi and the ice cream one after the other. It starts with a “rat” colleague (Manuel Sefciuc), who has already come into conflict with the law and was addicted to drugs and thus appears badly suspect. It is a simple, not entirely ineffective trick to present this candidate early and then distract with other motivations in order to be able to conjure it up again as an actual perpetrator. Ratte had killed the tyrannical boss to free his half -brother, Suscule chief Lars Eidmann (Simon Morzé), from his fatal dependency. Because Lars is addicted to work and recognition by the manager, he even wanted to do without the treatment of an aneurysm in order not to be missing in the kitchen for a day.
The clean and strict equipment of the film also fits the thoroughly conventional case, a classic and non -exciting Whodunit. The staging (director: Gerald Liegel) tries to pretend the surveys through theatrical flashbacks a little; Then the Bibi and the ice cream in the kitchen are ongoing, but invisible to it, and can be explained by rats.
The cut is beautiful (Alexandra Löwy) because humorous. From the dripping tap in the catering kitchen, you go to the last drop of the deflected office paper machine, from the stove button to the door opener, and at the end of the disillusioned Lisa report via the harassment in the workplace, the film changes the image of Lisa and the keyword “atomic bomb” slightly into the finished pling of the microwave in the office.
The most beautiful thing in Vienna is of course the two main characters that make the ordinary something special, a great duo. This time the Eisner with a light age -part that Bibi is despondent – she doubts the meaning of the work and wants to get away from the eternal murders. But it is not certain what that does that of your relationship with the ice cream, who in turn believes that Bibi go.
A banter that produces violent arguments and deep reconciliation-and, as a bracket, the return of the “Incasso-Heinzi” (with a lot of pleasure in the Dösbaddelige character: Simon Schwarz). Bibi visits it in prison, because otherwise she has no one to talk. The criminal becomes a meta commentator of a thriller – and supplied with a few liver chemplings.
