Markus Schleinzer, who directed the film for the first time, should be controlling not to bring his own subjective opinions into the film, hoping to narrate from a rational bystander perspective, but rationality is a double-edged sword: some well-handled passages, such as At the beginning, from the normal state of the two as father and son to the beginning of an abnormal relationship, the director has always been very forbearing, and his calmness makes people flustered and suspicious. However, being so calm and restrained all the time makes people emotionally cool, and it is difficult to understand what the director wants to express. For Michael, for Wolfgang, for such a special relationship, the director seems to have sympathy, criticism, and uncertainty. Either the attitude is clear, or it is completely calm and on the sidelines, the director chose to be ambiguous. Such a film is meaningless to the audience, because there is neither a clear attitude to accept nor free thinking, and it has always been excluded from the story.
The nature of the movie determines that it cannot be a self-appreciating personal show, it can be liked or disliked, but it cannot make people feel alienated and excluded. The only thing worthy of admiration in the film is the performance of the two leading actors, one big and one small. Markus Schleinzer is indeed a casting director with outstanding achievements and a unique vision. It's a pity that Michael and Wolfgang's rivalry is wonderful
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Markus Schleinzer handles the progression of the plot in a neat manner, but maintains a suspense from beginning to end that keeps the audience wondering what will happen in the next scene. There are no superfluous scenes throughout the film, and no overly violent scenes until the very last moment. Everything is point-to-point, allowing the audience to appreciate it for themselves. The depressing atmosphere created by the movie screen is also well grasped, which is in line with the needs of the plot
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