TV series “Sloborn”: more horror than reality

A pandemic is spreading all over the world. Millions get sick, hundreds of thousands die. Masks are mandatory, and distance rules and curfews are in effect everywhere. Hospitals are also filling up in Germany, medical equipment is becoming scarce, social systems are collapsing and with it the economy, truth and morals. While charlatans advise drinking disinfectants and disobeying government orders, the German armed forces help protect against a virus that causes bleeding eyes before death.

Wait – eyes bleed?

What at first seems like a realistic description of the current Corona crisis is somewhat strange here, or rather: fictional. While the epidemiological effects of the pandemic have been felt from at least N24 in the new eight-part thriller “Sløborn,” the most visible symptom of this TV plague is more of a horror movie than a reality. Which brings us to the arrogance of the German series that achieves the feat of being regional and cosmopolitan at the same time, seeing as backward, world and province in one category. By the way, the shooting took place last fall, several months before the outbreak of Corona in Wuhan.

Bullying and blood eyes

The title of the series describes an island in the North Sea where humanity’s major disasters generally seem remote, and smaller disasters increasingly important in daily village life. After the opening credits hint at Sloborn’s horrific future as a source of blood and eye disease, fifteen-year-old Evelyn (Emily Koch) returns home from a study trip, expecting not only her father (and Tan Welk Moring) to escape from marriage, but also a few Prospects, bullying and drugs for her teacher’s beautiful child.

[ „Sløborn“, ZDFneo, Donnerstag und Freitag, jeweils ab 20 Uhr 15. In der ZDF-Mediathek sind alle Folgen ab Donnerstag abrufbar]

The problems of the village’s youth, supplemented by the anxieties of adults such as the bookseller Merritt (Laura Tunkey), who wants to escape the prison of her wise marriage with the help of illustrious author Wagner (Alexander Scheer), who reads it nonetheless. , fails due to coke consumption. Meanwhile, social worker Magnus (Roland Møller) with his rehabilitation camp for urban delinquent teens provokes the discontent of the indigenous population, which, as is almost always the case in the disaster movie genre, is also directed against an ambitious infrastructure project with Evelyn’s mother (Annika). Kuhl) builds the idyllic, endangered island.

In this mixed situation of rural middle-class society, not only does the proverbial neighborhood strife flourish; The breeding ground here is also perfect for the flu virus from the news. When a sailing yacht ran aground off Sloburn, three of Evelyn’s classmates became infected while stealing the bodies on board. So now, as super-distributors on the smallest of the islands, they ensure a bit of globalization in the province’s isolated waters. Yet what has been a sensitive study on the geographical fringe of the Federal Republic up to this point, escalates with each episode more into the egregious stumble of a breakdown in morals and customs.

Wotan Wilke Möhring instead of Til Schweiger

After a few deaths, the country shuts down the island, conspiracy theorists and lockdown advocates seem the final battle, friends turning into foes. The Bundeswehr, for example, having conquered there is a confrontation, which the viewer heralds, as so often in his career, almost from the very beginning. After all, his name is Christian Alvart, and he’s been cooking “crime scene” since 2013 with the bare gun Nick Schiller aka Til Schweiger, so he’s made a trademark balancing of Hollywood and country theatre. At Sløborn, with each additional 400 minutes, the action was so stunning that the audience quickly bled from their eyes.

However, it didn’t go far enough to see the intrusive but poignant pandemic thriller as just a new episode in a saga of fantasy thrillers. On the other hand, Alvart’s brilliant project based on his book shows such a dimension in dealing with a pandemic whose true scope seemed unimaginable in the process of its formation.

A high gloss project is also not very glossy at all. As a photographer, the photographer works largely without artificial lighting, giving the wretched character an impressive weight as the subtle sound design of Christoph Schauze and Max Felgen. Even younger pals in their mid-40s can only dream of accurate depictions of the real life of those living in the pseudo-life of their parents or vice versa.

Despite its many clichés, this makes “Sloborn” an entertaining upcoming American disaster movie-style story that has been pouring humanity’s unease with progress and technology into blockbuster films since the 1970s. There was always bleeding there too. Even out of sight.

Friday January

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