In the nursing home, the “Berlin air” is popular. When Cem (Mehmet Atesci) tunes the classic, it helps to attract the residents very well, because then as if by the push of a button arms and mood fly up.
Also at the end of the movie “Nachspielzeit” the song by Paul Lincke has a special, connecting meaning. The lilting Lincke march, which is over 100 years old, has long since become a cliché – but Berlin and its air have changed enormously.
Cem is a German-Turkish, currently working in voluntary service, is in love with geriatric nurse Astrid (Friederike Becht), radical left and ready to resist. Against Nazis and against the real estate gold diggers who push the old tenants out . “If you are a victim, it goes on and on,” he tells his friend Marc (Jacob Matschenz).
The conflicts coagulate into a duel
In “Nachspielzeit”, author and director Andreas Pieper tells vividly and excitingly about the fight for the neighborhood, about gentrification , left against right, west against east. The conflicts, which can only exist in this formerly divided metropolis, coagulate into a duel: between Cem from Neukölln and Roman ( Frederick Lau ) from Lichtenberg, who blames the “Kanaken” for his unemployment.
Immediately in the first scene you see Cem with a baseball bat in his hand, Roman kneels in front of him. The bat has Cem of Calli (Aleksandar Tesla) urging him to strike.
Rough and tender is this “modern Heimatfilm”
Speculator Calli is the criminal villain who thrives everywhere in the neighborhood and plays everyone against each other who is cold, smart and, if in doubt, brutally runs his business. Of course, Pieper lets his audience fidget, one learns only at the end, whether Cem the temptation to strike, could resist or not. Until then, the film follows two protagonists on their way to escalation.
It all begins with a foul on the football field, slices are smashed, Roman and his right-hand buddies are hired by Calli to give the “hippies a decent swatter.” With the “hippies” is meant the “Mietarmada” that transforms apartment tours to the hassle of brokers in happenings. Also present: Cem, who has thrown a fire charge into a construction site, and Astrid, who is hesitating to get involved with Cem.
Rough and tender is this “modern Heimatfilm”, as Pieper, a graduate of the Babelsberg Film University, calls his second feature film. The camera of Armin Dierolf is moving a lot and creates a close proximity to the characters and their everyday life. Both young men seek their identity, break away from their parents’ home. Cem’s parents operate a restaurant whose existence is at stake not only because of Calli, but also because of the passions of the father. Roman’s father squats lonely and overwhelmed by the new time in a lousy apartment.
The third father figure in this film plays Horst Westphal (“Cloud 9”) , who gives the old president in this young, exceedingly remarkable ensemble: Westphal is the former East German sports reporter Liebach, who now commented on the world events as a retirement home and the young, angry Cem to think with a mixture of bitterness and historical awareness. “Nachspielzeit” tells the story of young Berliners, but this Berlin does not come from nowhere. And luckily it does not always have to be Paul Lincke: “Every day is the best day of a life,” sings Johannes Rögner of the band Frittenbude in “Zeitmaschinen von Müll”.