2010·Crime·1h 58m
7.0
★
13-year-old Sinikka vanishes on a hot summer night. Her bicycle is found in the exact place where a girl was killed 23 years ago. The dramatic present forces those involved in the original case to face their past.
Directed by Baran bo Odar
rape
germany
child molester
Trailer
IMDB
N/A
Where to Watch
Cast
Ulrich Thomsen
Peer Sommer
Wotan Wilke Möhring
Timo Friedrich
Katrin Sass
Elena Lange
Sebastian Blomberg
David Jahn
Burghart Klaußner
Krischan Mittich
Oliver Stokowski
Matthias Grimmer
Karoline Eichhorn
Ruth Weghamm
Jule Böwe
Jana Gläser
Roeland Wiesnekker
Karl Weghamm
Claudia Michelsen
Julia Friedrich
Lena Klenke
Sinikka Weghamm
Hilmar Eichhorn
Tobias
Crew
Baran bo Odar
Director
Baran bo Odar
Screenplay
Jantje Friese
Producer
Baran bo Odar
Co-Producer
Jan Costin Wagner
Novel
Popular Reviews
21 reviews
Will Graham
7.0★ · 12/24/25
Eh sumpah JAHAT BGT BGT BGT. SAKIT COYYYY PELAKUNYA
Eh sumpah JAHAT BGT BGT BGT. SAKIT COYYYY PELAKUNYA
alex
8.0★ · 06/19/25
“we got the right guy. we did.”
relentless and brutal. reminiscent of memories of murder in just how bleak it is, focusing less on the detective work and more on the ways in which these senseless tragedies tear apart the communities they happen to.
a lot of german films, at least modern ones that i’ve seen, have this air of residual, communal guilt built into them. there’s this sense of trauma that seems to be constantly rippling under the surface, wounds unhealed and ready to pop at any moment. when the cyclical nature of violence rears it’s head again, somethings just can’t be forgotten.
the character of timo was by far the most interesting one to me. while the movie makes no excuses for who and what he is, there’s this air of discomfort that follows him everywhere. maybe it’s because he knows what he is, and it makes him feel gross. he’s uncomfortable in his own skin and he should be. the movie poses a very interesting moral dilemma early on about whether timo would have ever acted upon his impulses had he not met sommer. clearly, he never gave in to the darker side of his urges. yet still, there’s a part of him that disgusts him, a part of himself he can’t get rid of. it’s something he struggles with seemingly his whole life.
sommer on the other hand is a vile man. he has no reservations about what he is or what he wants to do. the only other motivating factor in his life is that, as is opined in the film, is that pedophilia is a lonely. it’s not enough for sommer to give in to his proclivities. he needs someone else to participate in it with him. someone to bear the sin with.
there’s very sparse language in here. so many of the moments are spent watching the way these people live in and around their trauma, too afraid to confront it, too comfortable with being silent in the face of their problems. unfortunately, silence in itself is complicity.
the ending of this film is really difficult to stomach, but unfortunately based in reality. sometimes the bad guy gets away with it. the tireless detective will remain tireless, unable to stop chasing the ghosts. families remain torn apart and can only hope that the pieces they try to mash together hold some form of what was.
heavy on the soul filmmaking.
relentless and brutal. reminiscent of memories of murder in just how bleak it is, focusing less on the detective work and more on the ways in which these senseless tragedies tear apart the communities they happen to.
a lot of german films, at least modern ones that i’ve seen, have this air of residual, communal guilt built into them. there’s this sense of trauma that seems to be constantly rippling under the surface, wounds unhealed and ready to pop at any moment. when the cyclical nature of violence rears it’s head again, somethings just can’t be forgotten.
the character of timo was by far the most interesting one to me. while the movie makes no excuses for who and what he is, there’s this air of discomfort that follows him everywhere. maybe it’s because he knows what he is, and it makes him feel gross. he’s uncomfortable in his own skin and he should be. the movie poses a very interesting moral dilemma early on about whether timo would have ever acted upon his impulses had he not met sommer. clearly, he never gave in to the darker side of his urges. yet still, there’s a part of him that disgusts him, a part of himself he can’t get rid of. it’s something he struggles with seemingly his whole life.
sommer on the other hand is a vile man. he has no reservations about what he is or what he wants to do. the only other motivating factor in his life is that, as is opined in the film, is that pedophilia is a lonely. it’s not enough for sommer to give in to his proclivities. he needs someone else to participate in it with him. someone to bear the sin with.
there’s very sparse language in here. so many of the moments are spent watching the way these people live in and around their trauma, too afraid to confront it, too comfortable with being silent in the face of their problems. unfortunately, silence in itself is complicity.
the ending of this film is really difficult to stomach, but unfortunately based in reality. sometimes the bad guy gets away with it. the tireless detective will remain tireless, unable to stop chasing the ghosts. families remain torn apart and can only hope that the pieces they try to mash together hold some form of what was.
heavy on the soul filmmaking.
“we got the right guy. we did.”
relentless and brutal. reminiscent of memories of murder in just how bleak it is, focusing less on the detective work and more on the ways in which these senseless tragedies tear apart the communities they happen to.
a lot of german films, at least modern ones that i’ve seen, have this air of residual, communal guilt built into them. there’s this sense of trauma that seems to be constantly rippling under the surface, wounds unhealed and ready to pop at any moment. when the cyclical nature of violence rears it’s head again, somethings just can’t be forgotten.
the character of timo was by far the most interesting one to me. while the movie makes no excuses for who and what he is, there’s this air of discomfort that follows him everywhere. maybe it’s because he knows what he is, and it makes him feel gross. he’s uncomfortable in his own skin and he should be. the movie poses a very interesting moral dilemma early on about whether timo would have ever acted upon his impulses had he not met sommer. clearly, he never gave in to the darker side of his urges. yet still, there’s a part of him that disgusts him, a part of himself he can’t get rid of. it’s something he struggles with seemingly his whole life.
sommer on the other hand is a vile man. he has no reservations about what he is or what he wants to do. the only other motivating factor in his life is that, as is opined in the film, is that pedophilia is a lonely. it’s not enough for sommer to give in to his proclivities. he needs someone else to participate in it with him. someone to bear the sin with.
there’s very sparse language in here. so many of the moments are spent watching the way these people live in and around their trauma, too afraid to confront it, too comfortable with being silent in the face of their problems. unfortunately, silence in itself is complicity.
the ending of this film is really difficult to stomach, but unfortunately based in reality. sometimes the bad guy gets away with it. the tireless detective will remain tireless, unable to stop chasing the ghosts. families remain torn apart and can only hope that the pieces they try to mash together hold some form of what was.
heavy on the soul filmmaking.
relentless and brutal. reminiscent of memories of murder in just how bleak it is, focusing less on the detective work and more on the ways in which these senseless tragedies tear apart the communities they happen to.
a lot of german films, at least modern ones that i’ve seen, have this air of residual, communal guilt built into them. there’s this sense of trauma that seems to be constantly rippling under the surface, wounds unhealed and ready to pop at any moment. when the cyclical nature of violence rears it’s head again, somethings just can’t be forgotten.
the character of timo was by far the most interesting one to me. while the movie makes no excuses for who and what he is, there’s this air of discomfort that follows him everywhere. maybe it’s because he knows what he is, and it makes him feel gross. he’s uncomfortable in his own skin and he should be. the movie poses a very interesting moral dilemma early on about whether timo would have ever acted upon his impulses had he not met sommer. clearly, he never gave in to the darker side of his urges. yet still, there’s a part of him that disgusts him, a part of himself he can’t get rid of. it’s something he struggles with seemingly his whole life.
sommer on the other hand is a vile man. he has no reservations about what he is or what he wants to do. the only other motivating factor in his life is that, as is opined in the film, is that pedophilia is a lonely. it’s not enough for sommer to give in to his proclivities. he needs someone else to participate in it with him. someone to bear the sin with.
there’s very sparse language in here. so many of the moments are spent watching the way these people live in and around their trauma, too afraid to confront it, too comfortable with being silent in the face of their problems. unfortunately, silence in itself is complicity.
the ending of this film is really difficult to stomach, but unfortunately based in reality. sometimes the bad guy gets away with it. the tireless detective will remain tireless, unable to stop chasing the ghosts. families remain torn apart and can only hope that the pieces they try to mash together hold some form of what was.
heavy on the soul filmmaking.
plot twist enjoyer
5.0★ · 05/31/25
two guys, one bike, zero therapy
two guys, one bike, zero therapy
nighthawk
9.7★ · 06/05/20
directed by one of the showrunners and the cinematographer behind my favorite show of all time, DARK on Netflix. it is clear how much their work has evolved in the time since DARK, but that doesn’t make this early effort any less impressive. the story is very twisted and does not hold anything back. one of the best movies I have watched during quarantine, I am now a simp for Baran bo Odar
directed by one of the showrunners and the cinematographer behind my favorite show of all time, DARK on Netflix. it is clear how much their work has evolved in the time since DARK, but that doesn’t make this early effort any less impressive. the story is very twisted and does not hold anything back. one of the best movies I have watched during quarantine, I am now a simp for Baran bo Odar
nay
8.0★ · 06/16/26