The anniversary edition of the Salzburg Festival has just come to an end, and there is already an insider movie about it. Not a documentary, but a satirical comedy, utterly fictional but very elegant and suitable for a setting that pleases: presumption of innocence (ARD) by Michael Storminger. The film revolves around “Me Too” in the world of theater, intertwined with a new production by Mozart of “Don Giovanni” for the “100 Years of the Salzburg Festival”. The conductor of this opera, whose title hero is a feminist, is himself. No, not Theodor Krentzis!
The star conductor in the film is named Marius Aterson and represents the old white man in his patriarchal self. Many women unite to strike back at him or hit him individually. For example Brigitte Hubmeer briefly with an umbrella. This behind-the-scenes comedy is also a revenge, “Female Revenge” section. Ulrich Tukur plays the maestro, spoiled by power and success, so brilliantly that he doesn’t denounce the character or portray it as a cheap imitation of Dieter Fidel, which would be easy. His strength is difficult for his followers to bear, but he is also sympathetic, has charm and intelligence. And he has a mother problem, embodied in the great Kristen Ostermayer, who woos him by the name of blind “Maman Clarice”, at Hotel Zacher as at every champagne reception.
No sooner had the ex-wife arrived in Salzburg than the Wars of the Roses began
The festival’s biggest crisis begins when “Don Giovanni” director Roth (a sensational brief appearance by Simon Schwartz) throws such a fit of rage during rehearsals that he has to go to a psychiatric ward. It must happen. Beate Zierau, Atterson’s ex-wife (Catrin Striebeck), has been appointed as alternate director. You did not participate on good terms. He had hardly reached Salzburg until the Wars of the Roses began again. Samples explode regularly, and production is at risk. Festival director Winter Bloom (August Zerner) and festival head Gottesruther (Micho Friesz) have to constantly please, pulling strings from behind, handing out compliments and hugs. This is his comedy.
Beate Zierau is a self-confident, super exhausted, literally strong (and longtime smoker) woman. A major role for – really – butt Catherine Strebek, who has already taught a lot of men to be afraid. As a tyrannical ejection tyrant (“It must hurt!”), Zierau is no better than mentioning alpha animals in the industry. This is a clever trick in this allusive satire of the theater industry, and Sriebeck’s play is clearly fueled by decades of experience with vociferous Chauvi directors. applause!
Other women do not have such a sharp appearance. For example, the pale and appetizing maestro Karina Samos (Laura de Boer), who is not only Utterson’s main student, but also pregnant. You’ll get a great chance at this festival, both professionally and in love, because there’s also Robert Stadlooper as a very nice stage director. Karina’s girlfriend, agency assistant Ada (Daniela Gulbashin), is also beaten up by Uterson. For the counterattack, the two teamed up with TV journalist Francesca Fink (Marie C. Friedrich), who would like to denounce the maestro as a “me too” perpetrator who uses no noisy means entirely with complete physical exertion.
Michael Storminger (screenplay and director) knows the work of the Salzburg Festival, he is not only the current director of “Jedermann”, but also directed the film “Tosca”. The fact that he knows what’s going crazy is a huge benefit to his movie, which also thrives on the fact that it was shot in authentic locations. It really goes into the heart of the Festspielhaus, right down to the management offices. Even though the comedy is missing a step into the really big hit, it stuck in the ready-to-television comedy. But she’s witty, no doubt, and her acting is great too. And how cleverly played with motifs and quotes from Mozart’s “Don Giovanni” is an added bonus for the connoisseurs.
The Presumption of Innocence, the first, Wednesday, at 8:15 pm, and in Media Library