MQFF NOTES: Liebmann (2016, Dir. Jules Herrmann)

Much was made of the odd-ball tone of Jules Herrmann’s Liebmann prior to the film’s screening. Yes, there’s odd-ball in the mix of the German-reconfigures-in-France drama, but it is surprisingly subtle, and, by film’s end, even more surprisingly well-observed.

Godehard Giese is the titular Liebmann (Antek’s his first name), an awkward, seemingly apathetic, loner who is dealing with an undisclosed, life-scouring incident. He’s upped and offed to rural France and he just wants to be left alone to sort his shit. How deep that shit runs is the source of much of the film’s angsty anti-comedy. Amidst Liebmann’s frequent blackouts, he starts to question whether or not he’s interested in a hunky Frenchman (Fabien Ara), whether he can dodge his sister’s probing pressure, or whether he’s a serial killer. All pertinent.

Herrmann and Giese nail the slightly uncomfortable, endearingly disconnected mood here. The healing that goes on feels both elliptical and well-managed. Liebmann is a curious film but there’s a cathartic beauty in its enigma if you’re happy to run with it.

★★★☆

Trailer:

Liebmann screened as part of the Melbourne Queer Film Festival 2017. 

You can check out other films from the festival here.