Gegen Morgen

Wagner and his colleague Zippolt are both police officers seconded on a security detail to watch a murderer released from prison. Wagner lives alone. He enjoys watching the pigeons on his neighbour’s roof and listening to heavy operatic arias that he sings along to in his own sonorous baritone. Otherwise he’s somewhat reticent. His partner, with whom he is obliged to spend days on end sitting in a car in front of the target’s home, is an incorrigible motor mouth; like a hamster in a treadmill he is constantly trying to get his head around himself, his life and his own theories. But the more he talks, the more quietly aggressive Wagner becomes. Then Wagner meets a woman. This time he might even be able to make a go of it. But in the end nothing is as one might have thought – at work or at home. Nobody gets what they want, but something may have changed for everyone. And there’s even a proper sunrise.

Source: 62. Internationale Filmfestspiele Berlin (Catalogue)