Initially, when German director Frédéric Hambalek began crafting the script for “What Marielle Knows“, he didn’t have any children. However, by the time the movie was screened at the Berlin International Film Festival in competition, he had become a father of two. Interestingly enough, parenthood ended up influencing the film in ways he hadn’t anticipated.
In this thought-provoking blend of comedy and tragedy, titled “Hambalek”, the protagonist, Marielle (played brilliantly by Laeni Geiseler), experiences a life-changing incident: she develops telepathic abilities following an accident with her best friend. Now, Marielle can tune into the thoughts and actions of her parents, Julia (Julia Jentsch) and Tobias (Felix Kramer), regardless of where they are or what they’re doing – whether it’s at work, secretly smoking with colleagues, or engaged in private conversations behind closed doors. This constant surveillance puts Tobias and Julia in a position where they must confront their hidden flaws and inconsistencies.
Hambalek shares, “Before I had children, an unusual thought struck me when I saw a baby monitor – watching a sleeping infant felt like an invasion of privacy. This sparked my curiosity about how family privacy is managed. Once I became a parent myself, I found it intriguing to shift my focus from the baby’s perspective to that of the parents, inviting others to share their experiences as well.
How would you behave, the film asks, if you knew your children were watching you?
In his words, “As a parent, you’re setting an example of how your children should act: No candy, no squabbles, share your toys, and so on. However, it becomes clear that you aren’t always living up to these standards yourself. This places the child in a position where they can critique their parents, almost as if they are a divine judge.
It’s not hard to see that this god, much like any parent of a rebellious teenager, can be critical and unwelcoming. Marielle considers her mother’s flirting with a college student as equivalent to infidelity. The father’s endeavor to exert his control during a business meeting, hoping to make an impression on the daughter he believes is observing, backfires disastrously. As the family’s flawless image begins to crumble, Hambalek skillfully blends the intense drama with hilarious comedy, such as when Julia transforms a workplace tryst into a chance for sex education.
According to Jordan Mintzer from Hollywood Reporter, it’s as if a film was made jointly by Yorgos Lanthimos and M. Night Shyamalan.”
Or simply,
“Jordan Mintzer of Hollywood Reporter described it as a collaboration between Yorgos Lanthimos and M. Night Shyamalan in filmmaking.
Hambalek mentions that he deliberately crafted scenes that were at once comical and bizarre, as well as intense and somber. Interestingly, it appears that foreign viewers find the movie much more humorous.
Hambalek understood that the success of the movie relied heavily on Marielle’s role. He praised Geiseler, stating, “She’s simply extraordinary.” In his opinion, she possessed an astonishing aura, was exceptionally intelligent, and was an incredibly talented actress who managed to maintain an air of mystery. What stood out most to him was her age – Marielle was only 13 years old. He found that this age was crucial because it was on the brink of puberty, yet she still retained some of the innocence of a child. However, it was also evident that she could comprehend more mature concepts.
The movie primarily revolves around Marielle’s parents, with the audience always learning alongside them, as pointed out by Hambalek. Consequently, Marielle remains an intriguing mystery at the heart of the film, as we rarely get insights into her thoughts or knowledge. This is something that parents of teenagers may easily identify with.
The cinematography in the film serves to underscore its explorations of voyeurism and ethical judgment. Rather than adopting a personal viewpoint to emphasize Marielle’s mystical abilities, as some might compare it to a simplified version of “The Shining,” the director instead employs a camera that seems to be spying on his characters, gradually advancing as if another person were in the room. Furthermore, Hambalek notes that the director intentionally included the soft sound of footsteps in the background music to create the sensation of an unseen presence drawing near.
The unique blend of sophisticated narrative and insightful social critique in “What Marielle Knows” makes it a strong candidate for a remake, although the explicit language and adult themes could potentially be too mature for a family-friendly adaptation like Disney’s.
One standout surprise of this year’s Berlinale competition, “Frédéric Hambalek’s second feature,” skillfully explores the intricate dance of truth versus personal space within a family setting. The film invites viewers to form their own opinions about who among the characters might be justified in their actions.
He asserts that the movie isn’t focused on judging the parents as good or evil, but rather it explores the consequences of having nowhere left to escape.
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2025-02-21 22:55