The web of internet profiles paedophiles both scour and hide behind has led to some primary schools now teaching Facebook safety. The simplicity in creating fake identities and social networking’s rising popularity makes online caution for children a necessity. Markus Schleinzer’s directorial debut examines not just a molester’s capacity in overpowering a minor, but also the appalling lack of conscience shown in his perverted behaviour.
To all his colleagues, Michael (Michael Fuith) is a shy but dedicated office worker, lacking an ability for human interaction. Whilst having difficulty relating to peers, it’s in his relationship with ten-year old Wolfgang (David Rauchenberger), a prisoner in his basement, where he can relax and “be himself”.
The lack of on-screen abuse makes Michael far more traumatising than overtly violent snuff movies like Srdjan Spasojevic’s A Serbian Film. The truly harrowing content stemming from the implied cruelty is artfully suggested in subtle movements and understated lines from both characters (Wolfgang’s motion to zip up his jumper after he’s beckoned by the crotch-scratching Michael). This forces the imagination to fill in the details which Schleinzer leaves ambiguous, with no limit to their horror. This is also reflected in the sparse dialogue, with lingering silent facial shots forcing the invention of Michael’s sordid hankerings against Wolfgang’s desperate pleas.
Despite the living situation, their psychological states occasionally reverse, with Michael out-of-depth in the real world (his inability to powder-ski), reverting to childish pranks and preferring television contact to adult company. This is juxtaposed against Wolfgang’s higher understanding of politics and a near pragmatic approach to his awful predicament. The fractious relationship is represented by conflict quickly superseded by serenity: an awkward rendition of Silent Night following an argument shows Michael’s utter dominance over Wolfgang. But it’s the mundane scenes that are most disturbing. Michael’s calm matter-of-fact approach, his success at keeping Wolfgang hidden and attempts to humanise his behaviour, commenting on his absence of compassion and countless possible counterparts, push this film past barbaric and into sinister.