In the summer of 2006, film directors Dominik Graf, Christian Petzold and Christoph Hochhäusler began corresponding with each other on the subjects of film aesthetics, the Berlin School, Germany and the film genre (their correspondence was published in German film magazine Revolver). Two years later they decided to continue this theoretical discussion with a joint film project: three individual stories revolving around the same “fait divers”: the escape of a convicted criminal from police custody. Graf’s DON’T FOLLOW ME AROUND tells the story of a police psychologist who meets old acquaintances while investigating a case. In Petzold’s BEATS BEING DEAD a young man doing alternative national service experiences a love story without a future. And in Christoph Hochhäusler’s ONE MINUTES OF DARKNESS an indefatigable policeman hunting the escaped prisoner begins to doubt false certainties. Three films, three styles, three exciting approaches, variations, analyses.
Dreileben 1:Beats Being Dead
Directors: Christian Petzold
Runtime: 1 hour 26 minutes
A big hospital on the outskirts of a small city in the middle of the Thuringian Forest. Here Johannes carries out his alternative national service. The head physician, a family friend, has recruited him. Johannes gets to know Ana. During the night of their first embrace, a sex offender escapes from the hospital. His flight and the police’s hectic search accompany the story of Johannes and Ana – a love story transcending boundaries, without a future.
Dreileben 2: Don't Follow Me Around
Directors: Dominik Graf
Runtime: 1 hour 28 minutes
Dreileben 3: One Minute of Darkness
Directors: Christoph Hochhäusler
Runtime: 1 hour 29 minutes
The Dreileben trilogy comes to a nail-biting close with director Christoph Hochhäusler’s expert thriller, which also brings escaped felon Molosch—a peripheral character in the first two parts—into sharp focus. Hot on the killer’s trail, grizzled police inspector Marcus tries to put himself inside the mind of the criminal, even as he begins to wonder if the condemned man really is guilty as charged. Meanwhile, as Molosch flees deeper into Dreileben’s possibly enchanted forest, he has an unexpectedly tender encounter with a young runaway girl—scenes that echo the Frankenstein story and transform One Minute of Darkness into a dark, memorably strange fairy tale.