The Edukators is a sociological thriller about three young
anti-capitalists who get in way over their heads after a botched break-in.
Peter (Stipe Erceg) and Jan (Daniel Brühl) are a pair of idealistic young
wannabe revolutionaries, living in near squalor in the centre of Berlin. In the evenings
they scope out large houses in the suburbs which they break into. Rather than
stealing what they find inside, the pair instead moves the furniture and
expensive consumer items around, messing with the minds of the rich inhabitants
and leaving a note saying something along the lines of “Your days of plenty are
coming to an end”. They call themselves ‘The Edukators’. With Peter in Barcelona, Jan becomes
friendlier with Peter’s girlfriend Jule (Julia Jentsch) after the pair had
previously been rather standoffish with each other. Jule explains how her life
is being ruined by a debt owed to a rich man following a car crash and Jan
decides to do something about it, bringing Jule into ‘The Edukators’ without Peter’s
knowledge.
The Edukators is a fascinating thriller which bought out the old
Commie in me. I was on the group’s side, finding myself nodding along to their
rants about consumerism and third world debt while I sat on my leather sofa,
watching my flat screen TV. The film bought out something in me which I’ve lost
in recent years, my youthful anger at the world. Don’t get me wrong, I’m still
angry but these days my anger is focussed at religion and stupidity rather than
poverty and injustice. This movie bought that back.
The film is shot on digital
cameras which gives it an earthy, almost Dogme style. It looks cheap and grubby
and the handheld style works to create a sense of really being with these
people. In one scene we see Peter and Jan driving and instead of having two
cameras on them, capturing each side of the conversation, the single camera
swings from one to the other as you would do were you really listening to the
conversation. The style, added to the subject matter made me feel engaged and part
of the proceedings. The first part of the film is set in the run down streets
of central Berlin
and looks fantastic. Berlin
is by far my favourite European city and its measured inner city decay is
captured wonderfully by director Hans Weingartner’s camera. The second half
finds beauty elsewhere, in the more naturally stunning surroundings of the Bavarian Alps.
There is a failed break-in around
the half way mark which brings a forth person into the film and into the group.
This turning point creates several problems for the central trio and raises
questions about their judgement, their morals and what they really stand for.
The group dynamic shifts several times once the film reaches Bavaria and I found each shift, glance and
revelation to be fascinating. This fascination was heightened by political and
sociological discussions with the new forth cast member, a man with differing
views and opinions to the other three. He formed the basis of natural
progression, perhaps where the other three would find themselves in the future.
It’s a well known fact that the majority of people become more right wing as
they age and the film invokes the famous quote “A young person who is not a
liberal has no heart, an older person who is still liberal has no brain”. It’s a
quote I’ve often thought about myself as a still very liberal person hurtling
towards thirty.
The chemistry and relationships
are really interesting throughout the film and the changes impact on the
audience’s views towards the characters. I also found that the almost reverse
Stockholm Syndrome was really absorbing too. It was an idea which I liked to
see explored as the three younger cast members found themselves slowly swayed
by the reasoning of their older compatriot while desperately sticking to the logic
and passion of their own political convictions. Some of the film’s best scenes
are quiet, round the table discussions about ideology and injustice.
There are other scenes though
which are just as good but are more up tempo. The introduction of the forth
character is exciting and I panicked for the others and there is a scene right
at the end featuring men at a door which made me actually shout “Oh no” at my
TV. I think this shows how invested I was in the character’s ideals and
personalities. The film’s real strength though is the changing dynamic in the
group.
The acting is terrific from all
three leads and the film helped further my belief that Daniel Brühl is one of
the actors of his generation. His grounded, level headed and idealistic
performance is something that I really bought into. His indecision with the new
feelings he uncovers also causes great tension in his performance and this
permeates the film. You actually believe that he believes the ideology he is
preaching, even though he is in fact probably a very well off man himself.
Julia Jentsch has an innocence to her and she brings that to her role. She is
probably the character most in the dark about what’s happening but also the one
with the most to lose. Her indecision and new found love are a joy to watch.
Stipe Erceg brings a lot of passion and an uneasiness which creates tension.
You’re never quite sure how he’ll react to a situation and this brings a lot to
the film. Burghart Klaußner has a steady intelligence and knows how to play the
other characters off against each other and I thought that he went about this
perfectly.
The film’s ending had me on the
edge of my seat as I couldn’t be sure how it would pan out. I worried for the
central trio and was saddened and even more worried to see the forth member
back in a suit and outside the other three’s apartment. The final scene put me
at ease though and made for a nice conclusion to a well written story which
fired up my political beliefs. The
Edukators is a deeply engaging movie with its heart in the right place. It
explores some great ideas and produces some accomplished performances while the
perfectly timed inclusion of Jeff Buckley’s rendition of Halleluiah rounded off a very good film perfectly.
8/10
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