BERLINALE 2020 - Curveball (Ohne Titel)
70th BERLINALE FILM FESTIVALDirector Johannes Naber's Curveball follows the prelude events leading into the notoriously controversial moments of the 2003 Iraq invasion. Quintessentially German at every turn, Naber's film forms a terrific balance of utterly dry farcical humour and a poignantly substantial examination of "what is truth?".
Sebastian Blomberg leads the way as a chemical engineer who is thrust into a deeper conspiracy of possible chemical weapon harbouring after a source – Rafid Alwan – comes forward with new information. Blomberg here is terrific as this bumbling neurotic scientist who is utterly transfixed with identifying the weapons of mass destruction. Blomberg is continually compelling on-screen with a fabulous range of thematic weight on show, as well as a fresh and organic authenticity brought to the fold that acts as a wonderful engagement tool.
Bloomberg's performance is solidified courtesy of writer-director Johannes Naber and co-writer Oliver Keidel'sscreenplay. Only small but subtle details of Bloomberg's character are revealed through snippets of exposition of visual cues. Moments of revelation and layers are presented to build Bloomberg's character via his relationship with his daughter, as well as relationship with his American counterpart (Virginia Kull). Small nuanced details that impact the narrative without drowning it in excessive character-based motifs is a real sign of a terrific screenplay.
Granted, the subject matter in Curveball is heavy-handed on detail and jargon, but in such a scenario like this, the depth acts as ominous juxtaposed comedic flair in already knowing the lies, it is just the extent of such that goes to an abstruse and profound level that shocks and saddens to the core. A film that leaves the viewer in a state of awe with a firm answer on "what is truth?" - anything they want it to be.
