All pictures: whistle
The statement of Hans-Christian Schmid’s war criminal film "storm" Put the right-missing practice in the Hague on the head
Hannah Maynard (Kerry Fox) superspire at the International Criminal Court in The Hague the indictment against the Serbian Goran Duric (Drazen Kuhn), who has to answer for the murder of Bosnian civilians. After the credibility of the main coercant is depleted at the trial, the court, whose executions on site, will be trying to review in today’s Serbian part of Bosnia, the Republic of Srpska,. Here, the final thing is clear that the Muslim witness has lied, whereupon the young man commits suicide. Maynard suspects a louder motive behind the false statement and encounters the funeral of the sister of the witness: Mira (Anamaria Marincca). How gradually turned out Mira from Duric in 1992 into a rape camp, in which most victims were killed. Since the witness who is now married to an unsuccessful German living in Berlin, has a child and one "normal" Living existence, initially the traumatic experiences do not want to face and, on top of that of former members of the Serbian militia, is massively threatened, the prosecution must provide some conviction work to make Mira to a statement in the Hague.
Political ranking game
Here, however, it turns out that both Maynard and Mira playballs have become the EU enlargement in a political deal, because the judge suddenly supports the concern of the Serbian lawyer of Duric, the statement by Mira on the rape and murder of Muslim women unable to allow. On top of that, Hannah’s beloved, the EU diplomat Jonas Dahlberg (Rolf Lassgard) has his fingers in the game in this game. While Mira in the Hague in court wants to give her statement to protocol and thus – as effective personal protection proves to be an imperiality – its life and that of her husband and her son relies on the game, Maynard is forced to give up her rule of law illusions. Only when she disclaims the trial of the previously designed procedure and Mira asks about the deportation and assassination of Bosnian women, Duric must look forward to a new trial in Srpska.
The career of the lawyer is hereby finished, the witness hovers with her statement in mortal danger but at the end Mira Hannah strokes his arm and the sun’s confidence breaks her rays from the cloud mesh for a short time. The film releases the two protagonists in an uncertain future, while it has become clear that right in terms of justice in such processes is spoken by chance: the criminals prove to be too powerful and the institutions too much dependent on politics than that The victims of the processes in Haag Sautean hooded.
Mechanisms of power
Apart from the high actor quality and the level of the expeder, on which the intricate thread of the plot converge at the end and growing growing, whereby the protectivelessness of the victim is conveyed to unpleasant and exciting ways, it is obvious to the films to show that the jurisdiction of the Hague Criminal Court serves as an instrument in the political ranking game, which will be sustainably tended to the official moral legitimacy of the court. Director Hans-Christian Schmid ("requiem", "The wondrous world of washing strength"), which does not apply for virtually as a hopeful’s wearer of the German film, Bernd Lange and Cameraman Bogumil Godfreyow has made considerable with the screenwriter.
The mechanisms of the Criminal Court are artistically credibly transparent: Allerorte is blackmailed, intrigued, politics draws their stripping invisibly behind the scenes, the witnesses will be used after mab of political usability and dropped again. The single (the delinquent, the victim, the claimant) always proves to be a huge political gearbox, whose fate of parameters is determined outside of his personal field of action. The undeniable weak (and possibly deliberately) Happy END of the film, which picks up the central analytical statement of the Judge Drama Illusionar and the an old lemonad salesman named Moral back to her rosinante Hievt is genus and corresponds to the conventions of the commercialized film operation: from always one has to be At the most part of the films turned in the artist windshade Hollywoods, the last five minutes.
A movie for Rudolf Scharping
The central shortcoming of the film is that this is politically instrumental in its own, by floating on the wave of the official political interpretation of the judgment of the Criminal Court in The Hague. Although Hans-Christian Schmid examines the syntax of the jurisdiction, but his judgment is clearly stated from the outset: the Serbs are the savings and they are not punished out of limited political opportunity. – Now, Serbs have indisputably committed war crimes both in Bosnia and Kosovo War, but the statement of the film puts the right-term practice in the Hague. For in the realitat, the International Criminal Court for the former Yugoslavia predominantly sentenced Serbian defendants to high prison sentences, during croats, Bosniaks and Albanians with relatively low prison sentences, resp. did not have to go to the prison.
The former chief portist Carla del Ponte, which you can definitely do not succeed Proserbian caught, describes, for example, in your book "The hunting – me and the war criminals", that the Court of Justice for the organ removal at 100 to 300 Serbian civilians had collected by the uck for the purpose of free sale, but a nearby investigation "stifled in the germ" was, because only the persecution of Serbian war crimes was politically opportune. Details of this bizarre crime were announced by Human Rights Watch Just on the day when the former Uck-Fuhrer and short-term prime minister of Kosovo, Ramush Haradinaj, despite the needed 25 years imprisonment due to lack of evidence could leave the Hague Court as a free man. Before, nine of the ten main patients had been killed. The tenth then refused the statement. – Hans Christian Schmid had adopted this substance, probably no court drama, but a splatter film has become out of it.