This must be the worst krimi made on German public television.
The main character is inspector Süden who is on the team for missing persons in Munich. He has of course a connected childhood trauma: his father left him without telling where he went. This proposition is already dangerously pretentious, but it is only the beginning. We have an alcoholic sidekick that walks around morose, a cocky love interest, a dumb lieutenant and a bespectacled beginner. And they all treat the hunt for missing persons as something that is deeply philosophical and the only way to redeem themselves.
Two stories try to intertwine, but that never happens. We have a flashback to the "hectic and traumatic" days when the team was on the missing persons of the 2001 tsunami, a seldom seen example of melodrama at its ugliest when Süden takes over the phone from the alcoholic who "cannot take anymore" and succeeds in still being human and understanding to the caller. Music and camera tell us that this was enormous important, but as a viewer you think: please, grow up. (The tsunami is 8 years ago, but all of the characters are exactly the same, even the hair loss of Süden is at the same stage.) A woman decides to start over again, but is suddenly back in Munich. A talented soccer player disappears and sleeps in a Volvo somewhere. And that's it.
All lack of plot is over painted with a lot of atmospheric images of Munich (days turn into night in quickened pace), semi deep dialog, stupid tricks, terrible jokes and an awful fight scene between the returned woman and he husband with which, supposedly, we are told "how people nowadays never interfere with violence in public". All scored with especially hideous quasi progressive almost atonal jazz. But never, never is any of the suggested higher content realized. The flashbacks of the little Süden and his father in the 70s are so gratuitous that you feel exactly the opposite as intended: I wish you never ever find your father again! The actors are trying too hard or too little, no one hits the character home. Hope the plug on this formula will be pulled soon, because this is a waste of a lot of money.
The main character is inspector Süden who is on the team for missing persons in Munich. He has of course a connected childhood trauma: his father left him without telling where he went. This proposition is already dangerously pretentious, but it is only the beginning. We have an alcoholic sidekick that walks around morose, a cocky love interest, a dumb lieutenant and a bespectacled beginner. And they all treat the hunt for missing persons as something that is deeply philosophical and the only way to redeem themselves.
Two stories try to intertwine, but that never happens. We have a flashback to the "hectic and traumatic" days when the team was on the missing persons of the 2001 tsunami, a seldom seen example of melodrama at its ugliest when Süden takes over the phone from the alcoholic who "cannot take anymore" and succeeds in still being human and understanding to the caller. Music and camera tell us that this was enormous important, but as a viewer you think: please, grow up. (The tsunami is 8 years ago, but all of the characters are exactly the same, even the hair loss of Süden is at the same stage.) A woman decides to start over again, but is suddenly back in Munich. A talented soccer player disappears and sleeps in a Volvo somewhere. And that's it.
All lack of plot is over painted with a lot of atmospheric images of Munich (days turn into night in quickened pace), semi deep dialog, stupid tricks, terrible jokes and an awful fight scene between the returned woman and he husband with which, supposedly, we are told "how people nowadays never interfere with violence in public". All scored with especially hideous quasi progressive almost atonal jazz. But never, never is any of the suggested higher content realized. The flashbacks of the little Süden and his father in the 70s are so gratuitous that you feel exactly the opposite as intended: I wish you never ever find your father again! The actors are trying too hard or too little, no one hits the character home. Hope the plug on this formula will be pulled soon, because this is a waste of a lot of money.
