This is how “Dreams” becomes the new “Tatort” from Munich

Culture This is how the “crime scene”

I murdered in a dream

Marina Eden (Jara Bihler) wakes up from a nightmare in the sleep laboratory Marina Eden (Jara Bihler) wakes up from a nightmare in the sleep laboratory

Marina Eden (Jara Bihler) wakes up from a nightmare in the sleep laboratory

Source: BR / NEUESUPER GmbH / Hendrik Heiden

The self-optimization mania of the present has now reached the dream. Controlled dreams are designed to help improve performance. In the new Munich case, that ends fatally. There is only one thing about him that is dreamy.

MUsics is a dangerous job. Not only because, as an oboist, for example, you have to sit all your life in front of those damned trumpets that, with Mahler or Bruckner, bang in your ear with the volume of a truck speeding by.

Music is stress. The stress level when playing any symphonies, so the inspectors in the new Munich “Tatort” say three times, which is why we now believe that, is as high for instrumentalists as the lawn in a circle for Formula 1 drivers.

Such an orchestra is nothing more than a battleground for a competitive society. And what do you not do to be able to cope with the stress. You swallow Ritalin (the number of unreported cases of drug-dependent musicians is probably about as high as that of medical professionals). Or you dream.

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That is new. That plays „Dreams“ (Of course you could have come to that right away). This is called lucid dreaming. Directed dreaming.

Play through in the dream what one tries to control in the conscious reality, has to control. There really is. But can have nasty consequences. If you overdo it.

And at some point you no longer know exactly which side of your consciousness you are on. Whether you really did what you think you did. And falls into a rather uninteresting half-light. A friable catatonia.

Marina Eden (Jara Bihler) is playing in her new position in the orchestra for the first time

Marina Eden (Jara Bihler) is playing in her new position in the orchestra for the first time

Source: BR / NEUESUPER GmbH / Hendrik Heiden

Let’s get back to that in a moment. Unfortunately.

Marina is a lucid dreamer. And so is her friend Lucy. She is famous musician-parents child and is called Castaneda with the surname, what it (as an allusion or homage to the – carefully formulated not undisputed – great lucid dreamer Carlos Castaneda) really didn’t need it.

Both play the violin (and Jara Bihler, the Marina is in “Dreams”, that makes it really great). Both want to be at the forefront among the concert masters of the Munich Radio Orchestra, which himself recorded under Ivan Repusic what Daniel Reichelt wrote of pretty fine music for this symphonic box dream “Tatort”.

An audition is due. And Marina stands out on the roof of the Munich Gasteig on Lucy. Until blood flows. A horror.

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ARD / NDR TATORT: DARKLE ZEIT, on Sunday (17.12.17) at 8.15 p.m. in ERSTEN.  Paula (Sophie Pfennigstorf) is every means right.  © NDR / Christine Schroeder, free of charge - use in accordance with the General Terms and Conditions in close editorial, content-related context with the NDR broadcast mentioned if it is mentioned

But was that really? Was that a lucid dream? There is blood. Lucy is gone. Marina stands in front of the commissioners. Screams hysterically. Believes herself to be a murderer. And their desperation, at least, seems real.

Johanna Thalmann had just demonstrated in her book for “Luna eats and dies”, the latest “crime scene”, how to play with the possibilities of reality in a story, build a labyrinth of narratives with different probabilities and let the investigators become reading analysts of a large-scale fiction “Of the Hessischer Rundfunk.

It was about the death of a young writer and the authenticity and authenticity of the story her novel was about.

The friable catatonia

Johanna Thalmann was also involved in the book of “Dreams”. The mechanics are similar to those of “Luna”. The implementation is a different one. And now we unfortunately have to come back to the friable catatonia. One defends itself against them for a long time.

There are a lot of interesting tracks lying around. There is a high density of problematic relationships that would have made a bloody act possible. You learn a lot about dream and sleep and orchestral prelude. The commissioners do what they do on the Isar. At some point, however, the half-dawn that constantly hangs over Munich has settled on the whole case like powdery mildew.

In Marina's dream, her friend Lucy Castaneda (Dorothée Neff) appears on the roof of the Gasteig

In Marina’s dream, her friend Lucy Castaneda (Dorothée Neff) appears on the roof of the Gasteig

Source: BR / NEUESUPER GmbH / Hendrik Heiden

What could have been a horror film, something after one would have been reluctant to fall into Morpheus’ Sunday arms because of the possible traumatic consequences, has unfortunately become a harmless piece of horror.

Director Boris Kunz doesn’t want to frighten us so terribly, only does it when – at the very end and then at least with force – there is no other way. In between, he leaves pretty much all the cinematic possibilities of lucid dreaming.

The pictures are harmless. The music on “Dreams”, however, is dangerous. You can buy it. Works just fine without a case. As a horror movie.


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