E.One time a complete restoration from head to toe: Stella Martin is determined to face physical decline with all her might. What else can a woman do if she is banned from the book covers of her own self-optimization counselor for wrinkling reasons and the husband (Thomas Limpinsel) jokes with a younger woman? There she lies on the operating table, the beauty doyenne embodied by Adele Neuhauser, with so many blue markings for the incisions on her face and body that even the cosmetic surgeon she trusts (Manuel Rubey) is no longer entirely at ease. In his diabolical beauty paradise, however, every woman has as many wishes as she can pay for. He’s already pulling out the scalpel – and everything gets seriously out of hand.
With a nasal bandage over a monstrously disfigured prong, Stella staggers out of the clinic in a daze. The visage mishap is not even the biggest problem for the self-centered self-centered woman with a show-off villa: since a cyclist knocked her over, she has been hearing voices. More precisely, the thoughts of those around you.
The thoughts of others
Quasi with one leg “Above the sky of Berlin” and with the other in an amateur play by “Cyrano de Bergerac”, Stella experiences her own limbo of refinement. What her daughter Johanna (Olga von Luckwald), who is prone to anti-maternal riot and who, as a nurse, confronts the ailments of mortals in a very different way than her wife Mama, the “queen bee”, has to say, is hard enough. What buzzes through the mind of the assistant in the beauty clinic or the passer-by in the park is even more unpleasant because it is unfiltered. There it is little consolation that in the upper room of Stella’s eldest daughter Fiona (Henriette Richter-Röhl), for whom her mother is “an ideal”, there seems to be complete silence.
Uli Brée as screenwriter, who has already written several episodes for the Viennese “Tatort” with Adele Neuhauser in the role of the squat investigator Bibi Fellner and who provided the script for the fair of the vanities of the “suburban women”, takes the in his television comedy “Wrinkle-Free” Beauty madness of our days is a very amusing target. He not only puts punchy dialogues in the mouth or unspoken behind the forehead of the protagonist, but also lets Stella’s neighbors repeatedly speak a judgment about the heroine directly into the camera in inserted short monologues: as a woman who knows herself and her business from books and from Gatten managed cosmetics line with scrap creams under control until the reality and the image fell apart all too obviously.
The important relationships in life had already fallen by the wayside. “If you always talk to concrete, then not much moves,” says Johanna. “She has inspired so many people,” sighs Fiona, on the other hand, kneading a duster, optically as if peeled from an egg. Of course, Stella’s husband ran away long ago, without a word.
Ideally cast heroine
The director Dirk Kummer stages the absurdity as ravishing fun about Adele Neuhauser as the ideal cast, who with relish, but without cruelty, unmasks the lucrative madness: first create dissatisfaction so that it can then be exploited profitably. Only those who undermine self-confidence can make a cut, both literally and figuratively. The joke is always in the detail: Stella’s bestseller bears the full-bodied title “I was born to explain it to you”, from the cover of which the camera (Mathias Neumann) pans straight over to the unvarnished version of the heroine who is underlining herself from the sounds of the Queen song “Love of my life”, on the home trainer kicking the non-existent love handles off the ribs. The aesthetic surgery is decorated almost lovingly in its aseptic pastel horror, the ruler of which, with Stella’s support, is making a promo film surrounded by half-naked extras. Sexual rejuvenation is of course also offered.
Adele Neuhauser’s Stella, perfectly styled and living through the collapse of her authority, only stumbles into the opposite world by chance or rather by accident, far away from such dazzling works. The emergency doctor Betty (Sibylle Canonica), who is about the same age, takes her to a cozy home with an unspoiled daughter, where you can drink red wine, laugh and enjoy life – which, although taken seriously, is the most merciless cliché in the film. In general: Why do only women feel aesthetically deficient in “Wrinkle Free”? It is much more convincing when Stella goes underwater with Betty, two graces in glowing bathing suits under water, in the glow of the neon light of a night indoor pool, weightless. With such stylistic devices, Kummer creates a balance between the garish parody and the warm seriousness that makes the film so beneficial. Watching Adele Neuhauser perform is pure pleasure anyway.
“Wrinkle-free”, today, at 8:15 p.m., in the first.
.
#Wrinklefree #works #beauty