Berlin – Eva Trobisch’s Home Stories (Etwas ganz Besonderes), currently in competition at the Berlin Film Festival, is a deliberately fragmented portrait of a family in contemporary Germany, one that feels less like a cohesive narrative and more like a series of interconnected vignettes. The film, Trobisch’s most ambitious work to date following All Is Well and Ivo, explores the complexities of identity, generational divides, and the lingering impact of East Germany’s past, though it doesn’t always succeed in fully synthesizing its many threads.
The story centers around Lea (Frida Hornemann), a sixteen-year-old who finds herself thrust into the spotlight after securing a place on a national talent show. This experience triggers an existential crisis of sorts, forcing her to confront how she and her family will be perceived – and packaged – for a national audience. Trobisch smartly frames this narrative against the backdrop of a family grappling with its own internal shifts, and contradictions.
Lea’s parents, Matze (Max Riemelt) and Rieke (Gina Henkel), have recently separated, a situation complicated by Rieke’s pregnancy with another man’s child. The film doesn’t dwell on the specifics of their breakup, instead presenting it as a matter-of-fact reality that shapes the dynamics within the household. This understated approach extends to the portrayal of the wider family, including Matze’s parents, Christel (Rahel Ohm) and Friedrich (Peter René Lüdicke), who are struggling to keep their hotel and horse-riding business afloat.
The generational tensions are particularly striking. Christel and Friedrich, products of a different era, find themselves at odds with their children and grandchildren over issues of tradition, progress, and political ideology. Their willingness to host a conference for far-right activists, despite the objections of their family, highlights the deep-seated divisions that continue to permeate German society. This isn’t presented as a simple clash of values, but rather as a reflection of the economic anxieties and cultural uncertainties that fuel such ideologies.
Matze’s sister, Kati (Eva Löbau), a curator-historian dedicated to restoring a local palace, represents a different facet of the family’s struggles. Her efforts to preserve the region’s cultural heritage are hampered by a lack of funding and a general apathy towards the past. Her son, Edgar (Florian Geisselmann), is involved in leftist activism, further complicating the family’s already tangled web of relationships. The film subtly suggests that even within progressive circles, there are disagreements about the best way to address the challenges facing contemporary Germany.
Trobisch’s directorial style is characterized by a naturalistic aesthetic, employing grainy textures and fluid camera movements to create a sense of immediacy and authenticity. This approach is particularly effective in capturing the everyday rhythms of life in the small town of Greiz. However, the film’s fragmented structure and overlapping dialogue can be disorienting, particularly for viewers unfamiliar with the nuances of German culture and society. The quick pace and density of the dialogue, as noted in the film itself, can make following the intricacies of each storyline challenging, even with subtitles.
The film’s exploration of talent shows and their inherent artificiality is a clever meta-commentary on the act of storytelling itself. The scenes depicting Lea’s participation in the show are deliberately over-the-top, complete with glitter balls, high-resolution close-ups, and manipulative editing techniques. This contrast with the more grounded realism of the family drama underscores the film’s central theme: the difficulty of presenting an authentic self in a world that demands conformity.
Home Stories doesn’t offer easy answers or neat resolutions. Several subplots remain unresolved, and some characters simply fade into the background. While this lack of closure may frustrate some viewers, it also feels true to life. The film acknowledges that families are messy, complicated entities, and that not every story has a satisfying ending. The disappearance of a character two-thirds of the way through the film, and the lack of definitive resolution, exemplifies this approach.
Home Stories is a thought-provoking and ambitious film that offers a nuanced portrait of contemporary German identity. While its fragmented structure and dense dialogue may prove challenging for some, its humanism and curiosity are undeniable. As the review succinctly puts it, it’s “a bit too scattered, but not uninteresting.” The film’s strength lies in its ability to capture the contradictions and complexities of modern life, and to remind us that even the most ordinary stories can be profoundly meaningful. The Match Factory is handling international sales for the film, and it’s likely to find an audience with adventurous arthouse distributors and streaming platforms.
