One of the best films of 2019 comes from United Kingdom. In Relativity (de. MEIN ENDE. DEIN ANFANG.) First-time director Mariko Monoguchi confuses the laws of cinematic storytelling and, with the help of an award-worthy ensemble, stages a tear-jerking story about love, loss and forgiveness. We reveal more about this in our review.
Edin Hasanovic is Nathan.
The plot summary
For Nora (Saskia Rosendahl), her world collapses when her boyfriend (Julius Feldmeier) dies in a bank robbery. At first she tries to suppress the tragedy. But little by little the feelings break out of her and she inevitably begins to come to terms with the loss. She also reminisces about how they met, their great love and all the dreams that the happy couple had and will now never be able to realize. Somewhere in another corner of the city, Natan (Edin Hasanovic) has a similar problem that is pulling the rug out from under him. His little daughter is seriously ill and urgently needs expensive treatment, which becomes unaffordable for Natan when he loses his job through his own fault. Natan and Nora’s paths cross one night because the two seem to have a surprising amount in common…
Relativity Movie Meaning & ending
Munich-born director Mariko Minoguchi has chosen a mammoth project for her feature film debut. Mammoth project because they are committed to “Relativity” as far away as possible from the schematic, chronological narrative. We would like to explain with many, many examples what exactly is meant by this, but that would probably rob the viewer of a large part of the fascination that “My End. “Your Beginning” has an effect on him when he first sees it. The almost two-hour thriller drama about a couple brutally torn apart and a young woman’s attempt to come to terms with a terrible loss needs to be experienced up close. Because if you fully immerse yourself in the story, Minoguchi is able to fool her audience without them even knowing anything about it. And when everything develops into a big whole at the end, you enjoy the moment the penny drops.
Nora (Saskia Rosendahl) has to cope with the sudden death of her boyfriend.
Mariko Minoguchi cited her brother as the main source of inspiration for the film. He is a physicist who, among other things, also dealt with the theory of relativity (the original title of the film is “Relativity”) and quantum theory. The question of chance and fate dominates “Relativity” hence from the first to the last scene. The film begins with a lecture about time and ends with the first meeting between Nora and her boyfriend. That’s right: it ends with the beginning. And in between he talks about how the couple met. The flashbacks describe important events in the couple’s life. It’s about fears, about the relationship between Nora and her mother, about the two worlds from which the rather simple woman and her partner, who comes from a good family, come from and about how these two worlds eventually merge into one. But the more you learn about them, the more tragic it becomes. This narrative form is also somewhat reminiscent of Gaspar Noé’s “Irréversible”, which runs constantly backwards and moves inexorably from an unhappy ending to a happy beginning – and then ends when the couple, who are later brutally torn apart, have no idea what is to come.
Although Minoguchi does not work with such drastic visual stylistic devices as her colleague Noé, just like him, she has also grasped the importance of directorial experimentation. The storyline surrounding Nora’s one-night stand Natan almost fades into the background at times, as it is only well into the second half of the film “Relativity” begins to understand how enormously important Natan’s entry into Nora’s life actually is. Both the tentatively developing relationship between the two and the love story between her and her late boyfriend, which works through small, but all the more loving gestures, are reminiscent of the films of Mikhaël Hers, whose “ This Summer Feeling” is one of the best, if not the best film on the subject of dealing with grief that even exists. Here the reduced intimacy of his stories meets the risk-averse joy of experimentation of filmmakers like Christopher Nolan or Gaspar Noé – a combination that you simply have to experience to believe.
It is carried “Relativity” by an ensemble consisting entirely of now established not-so-new comers. Only in small supporting roles do better-known actors such as Jeanette Hain (“The Reader”) or David Baalcke (“Shopping”) appear. Otherwise, the stage belongs entirely to the wonderfully unpretentious actors who put themselves completely at the service of their emotionally charged roles: Saskia Rosendahl (“Work without an author”) , Julius Feldmeier (“Goals Dance”) and Edin Hasanovic (“Guilty is always the others) are never seen together on the screen and yet they all complement each other perfectly. Going to the cinema is a must just for this bravura performance.
Conclusion: Great USA cinema, somewhere between the experimental nature of Christopher Nolan and the intimacy of Mikhaël Hers. This is how style breaks happen on the screen!
“Relativity can be seen in selected USA cinemas from November 28th.