GThe catastrophe could hardly be bigger: Kai Korthals (Lars Eidinger), a serial killer with whom the Kiel commissioner Klaus Borowski (Axel Milberg) has already dealt twice, breaks out of the forensic clinic during a theater rehearsal and initially disappeared without a trace. Then the scalped corpse of a young woman is discovered, soon after a night watchman crushed in a car wreck, both obviously victims of the psychopath. But when Borowski’s colleague Mila Sahin (Almila Bagriacik) looks at the recordings of Korthals’ therapy sessions in the clinic, she understands even less why the inspector remains so calm. Because the murderer, when asked about his friends, claims to have only one: Klaus Borowski. Which he then imitates for the psychologist as perfectly as one can only if one has observed the template extremely well.
Trial of strength between the murderer and the detective
“Borowski and the good person” continues a story that the screenwriter Sascha Arango began in 2012 with “Borowski and the silent guest” and continued three years later with “Borowski and the return of the silent guest”. In both films, Korthal had sadistically tortured women from Borowski’s immediate circle, one of them, his fiancée Frieda Jung, then withdrew from the inspector – her painted portrait is still hanging in his apartment.
It quickly becomes clear that the current film is all about a test of strength and more between Korthals and Borowski. The murderer apparently wrote letters to the detective from the institution, which Borowski did not even open (while conversely the psychopath never answered any of the women who wrote to him and made advances). They talk to each other and watch each other, and when the murderer breaks into the inspector’s apartment, he puts on one of his suits – later, to prevent the worst, Borowski will angrily shout “not in my office”, which is like a desperate attempt sounds like regaining control over your “life thief” Korthals and being in control of your own house again.
Of course, this is not a very new constellation. It also doesn’t carry a whole film, even if Milberg and Eidinger sometimes fill it with life in such a way that it takes your breath away – Milberg’s Borowski with his exhibited calm, behind which it seething, and Eidinger’s Korthals with his always between extreme brutality and loving helpfulness Turning over prepares a mood. Precisely because both are so closely related to each other, which is underlined here with a whole series of sometimes quite intrusive references to the first two Korthals films, the two women who register this game and finally intervene are so important: the blind telephone chaplain Teresa (Sabine Timoteo), in which Korthals finds peace for a brief moment and tries to offer him a perspective, and Mila Sahin, who distrusts Borowski’s empathy with the perpetrator.
It is thanks to them that the film, which is sometimes somewhat simple in its aesthetic means, gains depth, and where the stimulus of the clash between the medical diagnosis “it cannot be treated” and the murderer’s own mantra “I am not a bad person” is exhausted at some point , the contradiction and the change in the perspectives of the two women are all the more revealing.
Because it is obvious that this case leaves traces in everyone who had to do with the fact that it set something in motion that will have unforeseeable consequences. Developing and portraying this in a credible manner is no small matter, not for the script and not for Ilker Catak’s direction. It is thanks to them that, after almost twenty years, the characters in the Borowski “crime scene” appear less narrated than ever.
Of the Crime scene: Borowski and the good person, on Sunday at 8.15 p.m., ARD