Law student Luisa (Mala Emde) moves into her friend Batte’s (Luisa-Céline Gaffron) house project and gets politically active fighting Nazis. There’s a clash at her first demonsration and a right-wing marshal gets violent. In turn, Luisa manages to get her hands on a cellphone of theirs and gets information about a planned neo-Nazi move. She turns to Alfa (Noah Saavedra), who has this nickname for a reason. Rumors have it that he has slept with everyone in the project, but Luisa has a crush on him, just like his best best Lenor (Tonio Schreiber) does. While house politics are non-violent, the protests don’t go far enough according to Alfa. He suggests to activate his contacts in the autonomous left and organize a counterstrike. Luisa is for it. UND MORGEN DIE GANZE WELT is told through Luisa’s eyes. There’s almost no scene she isn’t in or in which the camera doesn’t take on her perspective. The film follows her as her new, exciting communal life begins, then quickly radicalizes, and ultimately reaches a point when she has to decide which path she wants to continue in when the situation escalates. Despite this immense focus on one person, UND MORGEN captures the diversity of positionality, people, relationships, and motivations that makes up Luisa’s left-wing world. From Batte, who insists on non-violence, to the self-important fighter Alfa, to the frustrated old 68er Dietmar who offers protection from persecution and accuses the young ones of getting lost in the details. UND MORGEN DIE GANZE WELT is a slow thriller, a milieu study, and a vehement plea to oppose the new (old) right-wing. The film doesn’t offer an answer to the question of which path is the best one.

Hendrike Bake (INDIEKINO MAGAZIN)

Translation: Elinor Lewy