Understandably confused situation at hand.
The Conclusion of Paula Ringelhahn Unveils a Pandora's Box - A Suicide Leading to an Apocalyptic Family Saga. "Trotzdem" Isn't Simple, But It's Captivating in Its Consistency. And There's Music Involved Too.
What Occurs?
Most favored him, many endorsed his innocence. It doesn't matter. Lenni (Neil Körger) was imprisoned for the homicide of a young lady. And now, he's no more. He took his life. He killed himself. The news first reaches his siblings Maria (Anne Haug) and Lisa (Mercedes Müller), who sell lingerie in Nuremberg, subsequently, the Dellmann family, somehow involved in the affair. Karl Dellmann (Fritz Karl), the family patriarch, is a textbook case for redemption. Decades in the past, he committed a crime, transformed positively in prison, and thrived as an entrepreneur upon release. He dwells in a brutalist design home with his wife Katja (Ursina Lardi), and they have three sons, Ben (Ben Münchow), Tim (Julius Grüner), and Stephan (Justus Johansson). But soon, one of them meets a brutal death, murdered savagely. The downward spiral of violence, at first, slow, now uncontrollable. And for Commissioner Felix Voss (Fabian Hinrichs), this case holds a special significance, as it concludes with a farewell.
Deep Dive?
Obviously, Paula Ringelhahn's (Dagmar Manzel) departure is imminent, which Commissioner Voss remains oblivious to for an extended period. But it's not primarily about that. It's about "the madness in the world," as Police Chief Dr. Kaiser (Stefan Merki) explains in the final episode of "Trotzdem." Superficially, it's a family revenge tragedy, but the story, penned by Stefan Betz and Max Färberböck, who also directs, is a metaphor for what's unfolding worldwide - rifts, injuries, betrayals, and revenge in all its forms, pointing out the futility of "an eye for an eye" and "a tooth for a tooth," ultimately rewarding losers.
Should I Look Away?
If it gets too intense, it might be too late to change channels. Now you're curious who and how and who gets dragged into the abyss. The narrative might appear sluggish, shifting between the often overly friendly tone of Ringelhahn and Voss and the destructive vibe among the suspects. But it's not enough to look away. It's better to stay tuned.
Wow Factor?
Immensely high, despite the peculiar staging sometimes veering towards the absurdist. The characters at times appear to have leaped from off-theater rehearsals onto the film set and in front of the camera. The occurrences appear detached from reality, amplifying their intensity. Moreover, the songs of this episode, Barry McGuire's "Eve Of Destruction," Dylan's "It's All Over Now, Baby Blue" in Marianne Faithful's version, and "The Sound Of Silence," are beautifully staged.
How Was It?
8 out of 10 points - an eccentric crime allegory, with a singing commissioner, a matter of taste content-wise, visually, a feast.
After hearing about Lenni's suicide, Maria and Lisa, their lingerie shop in Nuremberg, are struck with shock. Later, the news of another family member's brutal murder spreads throughout the Dellmann family, tying them further into the unfolding events.
As the series progresses, Karl Dellmann, the family patriarch, grapples with the realities of crime and redemption, reminded of his own past transgressions and the prison experience that transformed him.
