There are two girls. One lives in the small, English village, the other is just visiting. They meet accidentally – Tamsin turning up as the heroic Knight in Armour on a horse, Mona, perplexed by this girl who seems to be superior, playing cello and adoring Nietzsche. Class is not an issue until the end, when one of the two girls is free to leave, while the other has to and is willing to give up everything she has in order to stay with her loved one.
Tamsin seems to be vulnerable because she has a sister who died of anorexia, while Mona's brother, formerly a violent hot head, is now the leader of a catholic cult. They fall in love, play tricks and do witchcraft, but their promise of eternal love will not hold longer than for the summer. Mona is willing to fight for love, she runs away from home for Tamsin, but only finds her loved one ready to leave, leaving from the vacation she took far away from her normal life. "I was just playing a part, you didn't even know me", she says. Tamsin's identity was merely a part she played for the summer, her sister is well alive, but Mona's world breaks apart, she has also risked more. She tries to kill Tamsin, but can't. And then, the summer is over.
For me, this movie is what "All The Real Girls" tried to be. A very real love story without any artificial elements, shot in a dogma-like style, and dominated by pictures of a beautiful landscape – a dreamy, insomniac atmosphere, hyper-real and blurred at the same time. Sun-dazed.
That this love can only be temporal is clear from the beginning – both of these girls assume a new identity in order to start their love affair, but Mona's is not temporal – she changes in the process, while Tamsin only slips into a costume. Mona's situation is more desperate, she can not just go away. She is trapped, but Tamsin can leave when the summer is over. The parallels to Christian Petzold's "Gespenster" are obvious.
In one scene, the two girls take mushrooms and find themselves in a town bar, where they are oblivious to all the other people – they kiss, and the violent disapproval to this gesture is completely blacked out by their trip. Their love is nothing but that – a temporal trip to another world. Once reality this in, the trip is over.
Tamsin seems to be vulnerable because she has a sister who died of anorexia, while Mona's brother, formerly a violent hot head, is now the leader of a catholic cult. They fall in love, play tricks and do witchcraft, but their promise of eternal love will not hold longer than for the summer. Mona is willing to fight for love, she runs away from home for Tamsin, but only finds her loved one ready to leave, leaving from the vacation she took far away from her normal life. "I was just playing a part, you didn't even know me", she says. Tamsin's identity was merely a part she played for the summer, her sister is well alive, but Mona's world breaks apart, she has also risked more. She tries to kill Tamsin, but can't. And then, the summer is over.
For me, this movie is what "All The Real Girls" tried to be. A very real love story without any artificial elements, shot in a dogma-like style, and dominated by pictures of a beautiful landscape – a dreamy, insomniac atmosphere, hyper-real and blurred at the same time. Sun-dazed.
That this love can only be temporal is clear from the beginning – both of these girls assume a new identity in order to start their love affair, but Mona's is not temporal – she changes in the process, while Tamsin only slips into a costume. Mona's situation is more desperate, she can not just go away. She is trapped, but Tamsin can leave when the summer is over. The parallels to Christian Petzold's "Gespenster" are obvious.
In one scene, the two girls take mushrooms and find themselves in a town bar, where they are oblivious to all the other people – they kiss, and the violent disapproval to this gesture is completely blacked out by their trip. Their love is nothing but that – a temporal trip to another world. Once reality this in, the trip is over.
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