The Ordinaries (2023)
Paula, a young supporting character, studies at the Main Character School and dreams on graduating to become a lead.
- Manuel Faber
- Frederic Hüls
- Nick Paul Reinschke
- Carina Mazur
- Sophie Linnenbaum
- Michael Fetter Nathansky
- Sophie Linnenbaum
Rating: 6.063/10 by 16 users
Alternative Title:
Subtext - DE
Los ordinarios - MX
Οι συνηθισμένοι - GR
Los extras - AR
Country:
Germany
Language:
Deutsch
Runtime: 02 hour 00 minutes
Budget: $0
Revenue: $0
Plot Keyword: cinema on cinema, dystopia, female friendship, social satire, social differences, woman director, class discrimination, musical acts, mother daughter relationship, social prejudices
I was initially quite sceptical about this. It seemed quite artificial to pigeon-hole people into cinematic equivalents of socio-economic groupings. Actually, though, once I got my head around it, it worked quite well at providing an observational template for a class system that resonated rather better than I was expecting. It all centres around "Paula" (Fine Sendel). Now she is merely an unremarkable looking "supporting character" but that is so much better than being just about everyone else in this drama and what's next for her could lead to her elevation to "lead". If only she can learn to generate emotional music - and then the sky's the limit. She must train, strive and practice if she is to attain this goal - but there is a distraction. Her mother has repeatedly told her that her father was in that elite grouping, but a trip to the archives cannot find any trace of him. It's her search for evidence that drives her into the clutches of the underworld of the "out-takes" and those other unsavoury unmentionables who work behind the camera. Can she discover the truth before her world and her studies cave in on her? There is no doubting that this is contrived, and that at times that stretches the plausibility - but for the most part this is still quite a compelling, occasionally quite funny, look at human nature, and at what people might do to protect themselves, their families, reputations, prospects - you name it, really. It also takes the story - from the perspective of this ambitious but honest young woman - and asks us questions about what we might do in similar situations; or, indeed, what we have probably already done to get on and retain and/or embellish what we've achieved. I didn't love Fabian Zeidler's score but some characterful supporting roles - especially from her mother "Elisa" (Jule Böwe) and a tightly knit cast make this well worth a watch. It gives the cutting room floor an whole new meaning.
