The title bubbles in “Bubbles … we were friends” have a double meaning. On the one hand, this means those filter bubbles dominating the (political) discourse, in which the entire East German village population stylized to a right-wing rigid torch mob and all city people are stamped into polygamen relationships as vegan yoga hippies. At the same time, however, it is also simply the bubblers that form in the spray of the foaming lake of the Wadden Sea, the brown plörre of which is used again and again for ominous cuts in “Bubbles”.
Unfortunately, Sebastian Husak, who deals with lost empathy, political alienation and conflicting conflicts, does not do justice to the meaningful ambiguity of his title. Instead, it reveals its most important figure, while it rises on its topics and relies on a striving-constructed voltage force.
The reunion of childhood friends Fiete (Leonard Scheicher) and Luca (Johannes Nussbaum) will rather not end …
So far, Fiete (Leonard Scheicher) and his girlfriend Amiri (Zeynep Bozbay) live in various apartments in Berlin. But now a place has become free in Amiris WG and secretly hopes that she asks him to move to her. Rather, it rather considers turning the monogamous an open relationship. Before the groundbreaking decisions have to be made, there is initially a detour in Fietes old homeland on the Wadden Sea.
Here he wants to make a clear ship in the old house of his family, where Fiete's once best friend Luca (Johannes Nussbaum) also nestled. This means that an unexpected and unpleasant reunion means: While Luca wants to tear and drink and appear extremely rugged towards Amiri, Fiete does not get out of the foreign shame. When Luca also appeals to an ancient guilt that wanted to displace Fiete, it is clear: this encouragement will escalate evil …
When figures behave as the script needs
Even if it is a horror satire, Sebastian Husak and his writing partner Leonard Hettich could have drawn a valuable lesson from Jordan Peeles “Get Out” in the development of “Bubbles”: If the protagonist played by Daniel Kaluuya there visits his girlfriend, the alarm bells ring and he sees himself on racist Head for mischief. But if it is always prevented from giving in to give his escape impulse through social pressure, manipulation and aggressiveness, this makes the narrative, otherwise completely free -rotating “Get Out” emotionally credible.
The story of “Bubbles” is much more down -to -earth, but still Husak and Hettich makes a fatal mistake early on: visibly shaken up from the reunion with Luca and frightened by its hostile statements, Fiete suggests his friend a quickest possible return trip for a few hours after arrival. Amiri reacts and asks Fieten at a loss, which is why he wants to throw his plan over his pile – and instead suggests staying with Luca (apparently alone, because otherwise there would be no film). At that moment the illusory soap bubble bursts and “bubbles” splashes onto the cold bottom of unbelievability.
The only problem is that nobody understands why Fiete (Leonard Schleicher) and Amiri (Zeynep Bozbay) don't just go home …
At the risk of a filter bubble phenomenon, the author of this criticism is noticeable from his environment who, despite the alternative with the Luca, which is enthusiastic about unprotected sex without consensus and climate coats “in fun”, would “in fun”, who would “in fun”, “in fun”, would sleep under one roof. Especially since Luca also wears that kind of jacket how she has not only been preferred in the village and on the outskirts of the city for decades, but primarily by guys who are in the conductive tone “But where do you really come from?” questions.
The fact that migrant subsidiary Amiri initially acts actively against Fiete's departure plan is simply unbelievable-and a clear symptom for the lean observation sharpness of the “Bubbles” script. The fact that Amiri's view of what is happening is usually in the background anyway, “Bubbles” continues to the disadvantage: In a drama about hardened fronts and upright right hate, the target of racist “people like you!” Sayings to the fifth bike on the car can be praised that “Damaged Goods” Mimin Zeynep Bozbay despite everything is remarkable. committed.
At least the flunkyball scene rocks!
Fiete and Luca are more credible in their way of dealing with each other: On paper, it is quite plausible that the youth friends are repeatedly put back into their durdered teenage and under the influence of alcohol despite disagreements. Unfortunately, little is drawn from the narrative potential for conflict, since the filter bubbles cabilation is soon overshadowed by a constructed, clearly telegraphed secret for a serious car accident. In addition, the main actors themselves play too antagonistic in the harmonious interphases to negotiate “Bubbles” Fietes dilemma: constantly groaned, smacking, smacking and shattering and bottling, Luca is too repulsive, even when he is not looking for stunk, too, too, too, too, too, too, too, too, if you were looking for it as a duckmome, if he was looking for Luca's closeness again.
Husak tries to compensate for this with coarse caricature craftsman if, for example, in a sequence he compares the fie-peeing sitting posture in a man-born sitting position, which impatiently contrasts the Luca sink. The fact that the talent is very slumbering in Husak proves to tell gripping, a dimly illuminated round of flunkyball, in which the characters air air and thus only swing up the conflict in the course of the fast -paced drinking game. This stressfully staged, self-confident, extensive sequence unfortunately remains a lonely highlight.
Conclusion: tragic youth secrets, political explosives and drunk people “just let's be buddies!”-Despair result in “Bubbles … we were friends” due to tear-like figures and vague observations, a little convincing mix-despite a sometimes strong staging, which lets Sebastian Husak remain on (flunky) ball after this debut.
We saw “Bubbles … we were friends” at the Aachen film festival, where he was competing.