David Nawrath‘s confident debut ATLAS is a gripping, straightforward Berlin crime film as well as being a coherent story about fathers and sons, new masculinity, and the inheritance and end of violence. Walter is a furniture mover. At first glance he seems too old for the job, but after seeing him transporting a closet on his own and lifting weights in his living room in the evening, it‘s clear that there‘s incredible strength inside the dishevelled, quiet man. Together with a troupe of men who also seem to be alone like him, even though some do have families, Walter does evictions. They recently started working for the Afsari clan who kick out people from old Berlin buildings and resell them. One day Walter‘s job leads him to Jan. He and his family stubbornly resist being kicked out. They are the last tenants of the house, everyone else took the compensation. Walter recognises that Jan is his son who he hasn‘t seen since he was 4 years old. Walter wants to help Jan, but he knows that he is messing with a ruthless extended family by doing that.

Rainer Bock, who plays Walter with a controlled calm that binds together grief, scepticism, and unexpected willpower is the undisputed center of the film. When Walter is silent, it could be insecurity or a death-defiant stubbornness that demands respect even from his adversaries who see him as easy prey. Roman Kanonik as the new colleague Moussa who was brought in by the clan is a worthy opponent, the type of guy who puts their arm around your shoulder and gives you schnaps only to bash the glass over your head the next moment. Someone who presents himself as a tiger who is ready to strike at any moment.

Hendrike Bake (INDIEKINO MAGAZIN)

Translation: Elinor Lewy