You may think of what you want, but the films of the director Roland Reber, who died in 2022, are definitely unique. In community with the artist collective he founded by himself, he created radical-artificial cinema experiments such as “24/7-The Passion of Life” or “My dream or loneliness is never alone”, in which highly truncing theatrics on a cheap do-it-yourself gesture, identity-theoretical philosophy prose seminar on kitchen psychological And a sex -positive feminist manifesto crashes on the old man's fantasies on display. After all, the knowledge of “angels with dirty wings” is not about approximately as deeply as banal: “I fuck, so I am”. And for “the taste of life”, a porcelain penis with a straw in the urethra was chosen as a poster motif.
Six years after his last film “Roland Rebers Death Revue” and three years after his death, the first feature film is now starting in the cinemas that the WTP collective has put on without its former creative head. A certain change in the key can be identified during the opening credits of “Everywhere there is a home”: The names and activities are written there with sometimes colorful letters, which is more used to children's films-and in fact, it goes unexpectedly in this self-discovery comedy, in which seven women come together for a one-week “storm-free” seminar. But the usual WTP elements still appear later-what fans calm down, but also to put some random people looking for cinema.
Already at breakfast together, there is a lot of discussion among the seminar participants.
Actually, nobody knows exactly what you have to imagine under a “storm-free” seminar. For the Mama Influencer Luisa (Amelie Köder) it means distance from men and children-even if she is waiting nervously every evening that everything is in order at home. The postman Marion (Ute Meisenheimer), on the other hand, is particularly looking forward to not having to make any letters for a week – and the whole thing certainly has something to do with self -discovery or finding yourself. Meanwhile, the management is with Franzi (Mira Gittner), but above all because she provides the seminar location with her father's weekend house.
While the “storm-free” women deliberately do not impose any fixed requirements for the processes, Franzi's passive-aggressive brother Karsten (Thomas Bastkowski) left a whole list of house rules on the table. In addition, a family dispute over the father's house escalates, while the seminar participants keep approaching in discussions or other activities-just to talk completely past each other again in the next moment …
The crux with the collective improvisation
“Everywhere there is a home” was created in a “collective director”, as those responsible themselves call it: everyone took care of the design of their figures, including costumes and mask, the scenes were then worked out on the set according to the gross specifications of the sketchy script-and, like the participants of the seminar, some of the actors did not know each other before the acting, which was again a completely new dynamic has brought in. The result is some wonderfully authentic, at least felt spontaneous moments that would hardly have come about if she had previously put on a single person in silent combing. Definitely a big plus.
At the same time switches u. However, the drama styles are massive from each other: where WTP veteran Mira Gittner, like in the Roland-Reber works, still shows a prose theatrics, newcomer Helena Sattler, as Marie, keeps it with a consistent naturalness. Sometimes it even fits quite well, for example because Marie as the youngest in the group with her vegan world rescue ambitions falls out of the group anyway. But often it also seems arbitrary, just like a series of directing cakes: Why the participants keep talking to a blue wall towards the camera as if they were unclear in a mockumentary like “Stromberg” or candidates at “Lol: Last One Lahing”.
The title song “Sturm-Frei”, which was repeatedly tuned by co-author and actress Antje Nikola Mönning, turns out to be a genuine catchy tune!
Speaking of the end: “There is a home everywhere” does not require classic punch line, which is probably also due to the collective approach, which requires the greatest possible openness of the script. Instead, the initially still down-to-earth narrative is increasingly losing into surrealistic inserts, which also hardly seems like a single source, but also fire a certain Roland-vinebeste of. As I said, WTP fans will be happy, who may even have been afraid that the collective will suddenly make reasonably “normal” films. But if you have hoped for a pure letters in the opening credits with a few individual satirical tips based on the model of Jan George Schütte (“Swinger Club”, “Wellness for Couples”), you will look around, especially in the second half.
Conclusion: Self-discovery seminar comedy with a very engaging DIY charm, in which both the advantages and the disadvantages of a collective approach are open when filmmaking open.