Berlin Nobody // By Jordan Scott. With Eric Bana, Sadie Sink and Jonas Dassler.
In the world of cinema, certain projects generate high expectations thanks to their intriguing themes or their talented cast. Berlin Nobodydirected by Jordan Scott, is one of them. Adapted from the novel Tokyo by Nicholas Hogg, this psychological thriller tackles a powerful subject: the insidious influence of cults. However, despite this narrative potential and a promising cast, the film fails to captivate, due to lack of depth in its treatment. From the first minutes, Berlin Nobody reveals its main plot: Ben, a social psychologist and successful author, tries to strengthen his ties with his daughter Mazzy, who has recently arrived in Berlin for a semester.
American expatriate and social psychologist Ben Monroe moves to Berlin to further research the epidemic of cult mentality. As he immerses himself in a German cult, his rebellious teenage daughter, Mazzy, becomes involved with a mysterious and enigmatic boy. As these two worlds collide, Mazzy finds herself in great danger and Ben must race against time to save his daughter.
This family setting is quickly eclipsed by the shadow of a mysterious sect looming in the background. The idea of delving into the workings of progressive recruitment is appealing, but the scenario disappoints with its lack of subtlety. Contrary to what one might expect from a thriller, the suspense is non-existent. The progression is linear, each twist is predictable, and the ending is obvious long before the credits roll. This lack of thrilling intrigue deprives the viewer of any immersion or reflection. A good film relies largely on the strength of its characters. Here, unfortunately, those of Berlin Nobody sorely lacking in nuance.
Their role in the story is phoned in, and there is no ambiguity to make them truly captivating. The cult members, who should embody an oppressive and complex threat, are reduced to stereotypes. Even Mazzy, around whom part of the plot revolves, struggles to arouse empathy as his actions lack coherence. We feel that the protagonists only serve to advance a story which itself does not contribute much. On a visual level, Berlin Nobody suffers from a lackluster staging. The Berlin settings, while attractive in theory, are not exploited to their full potential.
The camera is content with a functional and unimaginative approach, leaving aside any artistic ambition. Certain aesthetic choices, such as awkward transitions or scenes filmed in an overly rudimentary manner, are reminiscent of television productions from the 2000s. Even the photography, which could have enhanced the atmosphere, lacks finesse and offers no visually striking moments. Music, a key element in establishing tension or enriching an atmosphere, is absent here. If some intriguing bass emerges briefly in certain scenes, they are not enough to give the film a real sonic identity.
Worse still, Berlin Nobody is riddled with blatant false connections that detract from immersion. One scene in particular, where a windshield miraculously goes from wet to dry in an instant, demonstrates a lack of attention to detail that could have been avoided. Addressing the subject of cults in a thriller is an ambitious idea. These secret organizations, with their capacity to manipulate and control, offer rich material for exploring psychological and social themes. Alas, Berlin Nobody fails to exploit this potential. The film merely touches on the dangers of indoctrination, without ever delving into the mechanisms of manipulation or the internal dynamics of a sect.
-Instead, it unfolds a superficial and conventional plot, where the emotional stakes are non-existent. With actors like Éric Bana and Sadie Sink, Berlin Nobody could have shined with his performances. But even the talent of these actors is not enough to save a poorly written script. Their characters, underdeveloped and lacking in substance, do not allow them to express their full potential. We find ourselves regretting that their managers believed in this project. This waste is all the more frustrating because they deserved better than a film that doesn’t give them the means to shine. As the daughter of Ridley Scott, director of masterpieces like GladiatorJordan Scott carried significant expectations on his shoulders.
But its name alone is not enough to guarantee the quality of a film. In Berlin Nobodyshe delivers a production that lacks soul and coherence, making it difficult to invest in her work. The story, although full of promise, gets lost in clumsy narrative and aesthetic choices. The result is a film that, despite its relevant subject matter, falls into oblivion as soon as it ends. Berlin Nobody had all the ingredients to make an impression: a strong subject, a captivating Berlin setting, and a quality cast. Yet it fails on almost every level. Its predictable storyline, its bland characters, and its dated staging make it a work that struggles to retain attention.
This film, which could have subtly explored the dangers of sects and family tensions, is content with a linear and lackluster story. In summary, Berlin Nobody is a disappointment that will be forgotten as quickly as it was discovered.
Note : 2/10. In short, a thriller that completely misses its potential.
Released on January 11, 2024 directly on Canal+
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