'Racism, sexism, classism, etc. are not accidental side effects of our society, but are the basis for mechanisms of exclusion and the exploitation that builds on them.'
Do you ever think about the narrative that governs your everyday life? You certainly will after watching the idiosyncratic German tragicomedy “The Ordinaries,” which fizzes with remake potential.
The Nuremberg-born, Berlin-based Linnenbaum came to film school as a mature directing student, after earning a diploma in psychology and working as a playwright. Her short fiction film “Pix” won the 2017 German Short Film Prize and her documentary “Stories of Dad” received several awards. She has also helmed episodes of several TV series. “The Ordinaries” is nominated for the 2022 New German Cinema Award at the Munich Film Festival where it will premiere just before Karlovy Vary.
They are many allegorical levels to the film, including a familiar “us vs. them,” but the so-called others are defined by filmic traits. Linnenbaum says: “Our society is a perpetuum mobile where the people above, need the people on the outskirts for economic exploitation. And they also always need the ones in between, those who hope to rise and fear to fall – they legitimize these toxic structures.
The narrative’s three castes of character types are further defined by the film’s visual design, from costuming, lighting and framing to color vs. black-and-white. The Main Characters enjoy a bright, colorful world that seems perfect on the surface, but definitely contains shadows. Meanwhile, The Outtakes work as their dark mirror. Linnenbaum says: “It was important for us to find an appealing visual realization without aestheticizing their poverty.
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