The Straw That Broke

“Review by the German Federal Film and Media Assessment Board (FBW) Rating: Certified "Highly Commended" (Prädikat Wertvoll) Starting from a frigidly futuristic business setting, an appropriately matching editor gives the chronically underpaid author Claudia the assignment to write five volumes of her sci-fi pulp novels within 36 hours. Yet, she only has three ports at her disposal... Thus begins a trip that transcends any everyday experience, leading from her one-room sanctuary out into diverse worlds—where the question soon arises as to how real or virtual these might be for the actual plot of the film. Perhaps, as the jury suggests, she is telling her journey more as a fragmented nightmare world. Along the way, Claudia discusses various metaphysical questions, both with her ex-boyfriend and with other characters from her narrative worlds. These characters are at times hostile, at times supportive. A noticeable constant is that technology and digitalization have taken over all areas of life throughout the entire 'multiverse,' even during the intake of food. Thus, Claudia also appears as a partial android; at the very least, her three ports enable a superhuman intake and processing of information. Significantly, the meaning of money is the only subject from today’s world that has survived. At first, one does not look for narrative coherence and is fascinated by a cyber-technologized post-world in which human identity and what it means to be human are called into question. This is also due to the convincing, trashy settings, which always convey something simultaneously familiar and dismissively futuristic, still bearing witness to an affinity for life that has actually long since retreated from the post-world. Since one is guided through a kind of dream, these worlds seem less harsh. The jury is reminded of Super 8 trash films from the 1950s and 60s or of Stanisław Lem, and even if—or precisely because—individual scenes sometimes feel like cheap theater, one clearly senses a distinct indie-film power and a concise, coherent cinematic language. However, this 70-minute piece, labeled as an experimental film (the jury ponders where the film can best be placed), ultimately offers too much of a narrative via Claudia's journey. And because of this established journey structure, one naturally wants to know: What is her vision, what drives her, besides completing the five volumes? Is it saving humanity or the multiverse from the mentioned virus, the O-Cloud? Yet, this common thread is difficult to decipher; the stations, characters, and conversations remain too confusing. At times, this is grueling for the jury, but on the other hand, it reinforces the impression of feeling lost—not only for Claudia, but beyond her. Her character and her search continuously radiate loss. The partly very witty ideas—for instance, involving the clever, talking mouse that seemingly escaped from her stories—the use of stop-motion, and the often interesting filming locations, subtly complemented by futuristic VFX worlds, string together without aiming for a meaningful or chronological reception. Director Valentin Hennig and Tom Whalen as writer reflect on the massive transformation of our society in a way that is simultaneously timeless. Thus, this highly idiosyncratic search for traces of identity in a post-world that might be beyond saving can thoroughly captivate, even if a somewhat conflicted overall impression remains. Weighing all arguments and following a very exciting discussion, the FBW jury is pleased to award the film the certificate HIGHLY COMMENDED (Prädikat WERTVOLL).”