Alternative Titles: Ein Schoener Film
Director: Alexander Bakshaev
Writer: Pippo Schund
Starring: Sandra Bourdonnec, Suleyman Yuceer, Sofia Velasquez, Naiden Angelov.
Linda and Jakob are happily in love until one night Jakob begins to have horrific nightmares in which Linda appears as a darkly seductive creature. Tormented by these visions, Jakob asks his best friend Kurt to murder Linda for him, thus beginning a slow descent into madness. Unbeknownst to the two men, Linda is acting under the control of an ancient family curse. Will her love for Jakob overcome the powers of death? Will Kurt give in to his violent urges and kill to protect his friendship? Is there a way to escape the Devil of Kreuzberg?
Upon first impression THE DEVIL OF KREUZBERG can be perceived as discordant and perhaps even unsure of what it wants to be but after repeated viewings the power of the film begins to shine through providing a very rewarding experience for those who are patient while helping to ensure that the film stands the test of time.
This is because the film works on multiple levels – from the subtle and sensory to the direct and grindhouse-esque. While a special mention also has to go to the varied and tremendous soundtrack which changes between the jazz of the 70s gialli and a more electronic score reminiscent at times of Angelo Badalamenti mixed with Goblin. While in regards to the acting, as you would expect from a low budget indie film it does vary although overall the vast majority of the cast put in promising performances with Suleyman Yuceer as the worlds most depressed hitman Kurt putting in a particularly noteworthy performance.
And despite the dialogue itself being merely functional and at times quite forced this does not prove to be an issue thanks to a story that is both intriguing and strong enough to carry the film, which at its heart is about need. Here the screenwriter does excel as they juxtapose the need of Jakob with that of his on-off girlfriend Linda, who herself is battling an inner conflict as she tries to repress who she is and what she must do and this sets up a very interesting story dynamic making the viewer question the very concept of love and its actions.
In order to do this director Bakshaev leans on the neo-giallo approach of Cattet and Forzani (AMER, THE STRANGE COLOUR OF YOUR BODY’S TEARS) as well as even David Lynch (TWIN PEAKS, BLUE VELVET) and presents the narrative through a combination of sleazy realism and more tonal surrealism and it is to his great credit (and that of the cinematographer) the beauty of some of the shots achieved on this budget.
Dancing scenes aside THE DEVIL OF KREUZBERG is discordant, surreal and gritty but with that it is also rewarding as it manages to take it’s influences (including the Hammer horror films) and mould them into something original with the ambiguity between the psychological and supernatural used with great effect.
Apparently costing only £3,000 the film deserves praise for trying something new, thinking out of the box and on the whole delivering, all while marking out director Alexander Bakshaev one to look out for, especially if he gets to operate with a bigger budget.
We reviewed an online screener version of the film. However a limited edition DVD-R of the film can be purchased from Carnie Films.
Please note that although the IMDB lists the runtime as 65m we watched and reviewed a shorter version with a running time of 48m 34seconds. It is unknown what version of film exists in this longer cut.