Lynn Oona Baur's 'Manchmal Denke Ich Plötzlich an Dich' proves to be an impressive cinematographic achievement that both deeply touches and challenges the viewer. The film captivates with its complex and multi-layered narrative style.
In this work, Baur almost establishes an independent genre within German cinema, which could be described as "German New Nordic Film". The film critically questions how rarely films capture the true essence of northern Germany. 'Manchmal Denke Ich Plötzlich an Dich' manages to portray the people in a respectful and honest way, far from clichéd depictions. Although certain similarities to works by Nordic directors such as Kaurismäki, Trier or Vinterberg can be recognised, Baur avoids any form of exaggerated self-presentation that is often found in the work of these filmmakers. Instead, her work is characterised by an almost restrained narrative art.
The story is characterised by a constant ambiguity that captivates the viewer. It is never clearly defined what is to be considered "good" or "bad", rather the ambiguity of life is celebrated in every scene. Baur uses an elliptical narrative style to transport the viewer into a world full of uncertainties and ambiguities.
Baur's directorial debut, 'Manchmal Denke Ich Plötzlich an Dich', is a gripping, intense and powerful cinematic experience. It pays tribute to the North and its inhabitants, explores motherhood in a modern way, thematises parenthood and tells the story in a loving way. With this film, Lynn Oona Baur succeeds in presenting an impressive debut and at the same time making an important contribution to German cinema that redefines the nature of cinematic storytelling.
