Alles ist gut
Panorama | Contemporary World Cinema
All is most definitely not good in Eva Trobisch’s seriously impressive debut feature, which begins as Janne and her partner Piet are renovating a countryside home, where they are preparing to relocate from Munich after the failure of their small publishing house. We soon find Janne attending a class reunion and finding herself drunk in the company of the seemingly harmless Martin. Later that night, Martin rapes Janne, leaving her with a black eye in the process. Janne however refuses to report or talk about the incident, rejecting her own victimization out of the need to show strength, compounded by the fact that Martin’s brother-in-law, Robert, offers her a job as an editor…
All Good microscopically examines the problems that can arise when business and personal relationships become entangled, beginning with Piet and Janne’s impending corporate (and intimate?) liquidation, and moving on to the constellation of Robert—himself undergoing serious marital problems—Janne and Martin, who must coexist in the same office. As Janne, who refuses to yield up her power until the film’s very end, Aenne Schwarz is a complete revelation, at times hinting at her character’s inner torment with the faintest of facial movements. But she can only ignore what it’s like to live with trauma for so long.
Best First Feature, Locarno 18; New Talent Award, Best Director, Best Actress, Munich 18