The Space Between the Lines Ending Explained

Spoilers Alert:

In the romance novel GUT AGAINST NORTH WIND Two people fall in love only through the power of words exchanged via email. Now director Vanessa Jopp has filmed the bestseller with the help of two well-known USA actors and has optimally captured the magic of the story. We reveal more about this in our review.

Actually, Emma (Nora Tschirner) just wanted to cancel a subscription. Now she is in an email liaison with Leo…

The plot summary

A twisted letter accidentally sends an email from Emma Rothner (Nora Tschirner) to Leo Leike (Alexander Fehling). The linguist answers promptly. They start a quick, funny and increasingly intimate email dialogue that can only be had with a stranger. A few weeks and many messages sent and received later, it becomes a virtual friendship. Leo and Emma initially decide to keep their connection purely digital as a little escape from everyday life – because Leo just can’t get away from his ex-girlfriend Marlene (Claudia Eisinger) and Emma is married to Bernhard (Ulrich Thomsen) and has two stepchildren . Nevertheless: The two confide in each other with their innermost feelings and grow closer and closer on the thin line between total strangeness and non-binding intimacy. And that raises the question of whether they shouldn’t meet face to face, because of the butterflies that Leo and Emma now have in their stomachs every time their email inbox announces a new message with a “ping”. , are not just digital at all. But can you really fall in love through words alone?

The Space Between the Lines Movie Meaning & ending

If you currently look at which films could attract more than 100,000 viewers in Germany in 2019, two things immediately jump out at you. Firstly: The cinemas in this country are still dominated by all sorts of sequel nonsense and secondly: Of the currently 87 films (as of September), “Dream Factory” , “Long Shot” , “Three Steps to You” and “After Passion “ To classify only four of the classic love stories. Four out of 87 – a pretty pathetic average. The genre will remain few and far between for another year, because in the last cinema years it didn’t look much different: There was the “Fifty Shades of Grey” series, which became weaker from part to part, and “A Star is Born”. It’s a particularly tragic romance that ends up being the hottest candidates at the Oscars. But hardly more than a handful still achieve widespread attention. Those were the days when films like “Casablanca” or “Gone with the Wind” were box office hits that created iconic lovers. So it’s pretty fantastic that “Good Against North Wind”, a film that is simply about how two people fall in love with each other, is being released widely in cinemas. The novel on which the film is based was already a bestseller in this country. Now Vanessa Jopp (“Lies and Other Truths”) has translated it brilliantly for the screen, although this undertaking has its pitfalls due to the structure of the novel alone.

Leo (Alexander Fehling) suddenly receives emails from a strange woman named Emma…

Daniel Glattauer’s modern form of epistolary novel tells the story about Emma and Leo exclusively through emails written alternately by him and her. The trappings depicted in the film directly from the lives of the two protagonists are also told to each other in the book by the characters themselves. In novel form, “Good Against North Wind” is characterized by the greatest possible subjectivity. On the screen, however, Jobb and her screenwriter Jane Ainscough (“I’ll be gone”) repeatedly allow themselves to look from the outside and include some of the supporting characters. Both Leo’s ex Marlene, his sister Adrienne (Ella Rumpf) and Emmi’s husband Bernhard as well as their stepchildren appear here as living characters, whereas in the book they only exist through the description in the emails. Nevertheless, Vanessa Jopp tries not to completely succumb to convention in her film. Not only does the email exchange remain the linchpin of “Gut gegen Nordwind”, but also the idea of ​​only giving Emma a face in the second half (before that she actually only existed in writing or via her voice, which is hers in Leo’s head). reads out your own emails). A nice idea, but from a marketing perspective alone it can’t work at all, since Nora Tschirner (“SMS for you”) not only appears in the trailer and on the poster, but her name is shown in the opening credits of “Gut gegen Nordwind”. becomes. And even if you somehow manage to keep yourself from knowing who Emma is portraying until the start of the film, you will recognize the actress by her characteristic voice-over.

The fact that “Good Against North Wind” manages to exploit all of its charm despite the unsuccessful element of surprise is primarily due to the two main actors. Alexander Fehling (“The Captain”) and Nora Tschirner, who were actually in a relationship a few years ago , display such harmonious chemistry that after watching the film you have to realize that the two actors only appear together in a handful of scenes you can see. Sometimes they’re just a supermarket aisle away from each other, other times he gets on the tram where she’s looking at her smartphone on the platform. Because neither of them exchange any photos until the end (and after mutual agreement neither feels the need to spy on the other on the Internet), the pleasant tingling sensation in these scenes arises primarily from the question of whether Leo and Emma would recognize each other if they did they meet for the first time; This question reaches its climax in a café where both of them meet to test out exactly that. And the fact that someone like Leo would fall in love with the gorgeous, natural Emma at first sight is at least as realistic as the fact that Emma could immediately succumb to Leo’s dry humor, which Emma is in no way inferior to. The chemistry between the two is just right. And this is particularly evident in the excellently written email texts, which are closely based on the novel.

Through the email structure, Vanessa Jopp and her screenwriter also avoid a problem that USA scripts are often accused of (sometimes rightly, sometimes wrongly): the impression that the characters speak the same way on the screen as hardly anyone in real life life would entertain. Now, with Leo, it’s not for nothing that we’re dealing with a linguist – and a particularly quick-witted one at that, which Emma uses to convert the verbal templates into a no less self-confident answer at every opportunity. That’s funny (“You’re like a chocolate kiss in the microwave!”)sometimes romantic (“Writing Emmi is kissing Emmi. And I like writing Emmi.”), but due to the external circumstances, it never scratches as much of the kitsch and unintentional comedy as would probably be the case in spoken dialogue. By communicating via email, both of you always have the opportunity to think about your smartly formulated words long enough so that the end result sounds as poetic as possible. It also fits that the scenes outside of this email traffic can transfer this poetry to real life; for example when Leo wants to surprise his Emma with New Year’s Eve rockets. This is perhaps one of the most beautiful film scenes of the year because Vanessa Jopp shows a sincerity for romance that is rarely seen in the cinema. It’s easy to forgive her for the somewhat over-constructed ending, with which she puts obstacles in the way of her couple in the last few meters, which we have already known for a long time that they no longer represent an obstacle for Emma and Leo.

Conclusion: Even without a lot of competition in the genre, we don’t want to miss this title: “Good Against North Wind” is one of the most beautiful love stories of the year.

“The Space Between the Lines” can be seen in USA cinemas nationwide from September 12th.

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