Oh my God, please take it away! This is the first thought when the viewer sees Gernot Schaballa (Aljoscha Stadelmann) in Bremen’s new “crime scene”, “Love Rage”. The giant, bearded, high-necked child of a construction worker, who constantly licks red-colored lollipops, is the embodied argument against olfactory television just by looking at it, even if it’s actually harmless. A witness who becomes a suspect.
Also other characters, including Bremen commissioners Liv Moormann (Jasna Fritzy Bauer) and Linda Selb (Louise Wolfram) in their investigations into the mysterious case of the apparent suicide of Susan Kramer (Ilona Thor) and the kidnapping of two of her six and ten-year-old girls meet, each person suffering from Fatty crack. Be it the sympathetic father of the two girls (Matthias Machki), who lives separately from their mother, or his “new girl”, pregnant nanny Jacqueline (Melina Caltenbach). Whether it’s a school janitor (Dirk Martins) fighting his own tendencies toward children or Susan’s parents (Ulrik Krumpigel, Thomas Schindel) – they all fill out the ghost train of this psychological thriller by Martina Mochot (screenplay) and Ann Zohra Brashed (director) as possible suspects. He not only lives from this excellent cast, but also gets an extra spin from the fact that the unreal situation at the crime scene repeatedly awakens unpleasant painful memories of Liv Moorman from her childhood – evidenced by oppressive past memories and the inseparable present. What exactly happened to her at that time is left to the imagination of the viewer – who, however, was repeatedly extracted from the actual plot. She does not know it herself and tries with all her might to work against the demons in her head. bad timing. In fact, it has to work! The clock is ticking – Linda Silp points out that the chance of finding abducted children alive is decreasing by the hour.
All the dashing and plausible characters in this grotesque parallel universe, trapped in its squishy interiors with sometimes bright colors that don’t overwhelm with sadness, are searching for love. But everyone has a different idea of what that means. Nothing is normal here. Not even what it seems at first glance. not only this. This is what gives this thriller, far from portraying normal police action or even claiming to be one, its own allure. The viewer joins in the excitement and guesswork and doesn’t really know (until) the end what really happened here. Especially since the thriller also undermines the entitlement of the average television consumer as the scene in which the two children are released from their hiding place is obscured. All you know is that they are alive. He suspects that the times are long gone when you still wish you would help.