As many as twenty-two leading or supporting actors, all recognizable to the average viewer, from the Marvel Cinematic Universe have made one or more feature films. It’s a mistake of creativity or storytelling to be at the forefront of the artistic hustle and bustle that they’ve been in front of the cameras on multiple occasions to see what it’s like and how they do it. Some have already experienced it before, but Next door (2021) New to Daniel Brühl.
This Spanish-German, born in Barcelona forty-four years ago, was chosen to fit into the shoes of Baron Helmut Zemovillain from Captain America: Civil War (2016), a role he only reprized in the miniseries. Falcon and Winter Soldier (2021) so far, but with an interesting anti-hero twist. The one who also has, but without his playful darkness Daniel Welz, whom he embodies. his notable first film with which he doesn’t shy away from risk.
Although the script is signed by another namesake, writer Daniel Kelmann, the main role from Next door seems to be made for himfor it is a well-known actor with an orderly, methodical, apparently responsible life and a manic point of view, which we are prompted with careful subtlety at the beginning, who is preparing to make a flight from Berlin to London in order to appear at an audition for a film about superheroes like Marvel films.
Daniel Brühl and the formidable parishioner in Next Door
With the intervention of the defiant Bruno, enters the stage, as never better said, overwhelming discomfort something the energetic Daniel Welz – or the Marvel fans – are certainly not used to, and which is spectacularly broadcast to an audience that is being nudged to move in their seats with every verbal blow and to the detailed grimaces of each one are especially sharp, like an unexpected blow of an axe. And this unsettling theme will appeal to relentless critics.
You Don’t Need Veteran Peter Kurtwho puts himself in his shoes with his imposing presence and matched Daniel Brühl in a memorable Goodbye Lenin! (2003) never shut up. He prefers that I continue to chat in this sparsely populated Berlin bar, where he spends most of his time. Next dooruntil he discovered all the details of his possible hostility to the irritated star. And the turns turn his annoying chatter into something else.
Thus, if we wanted to continue listening to him, the words written by Daniel Kelman would reach now, this is to our interest in what comes out of that poisonous mouth it multiplies. And we observe, perhaps surprised, the germ of a painful doubt that we do not know where this will lead. But this itch is not enough and we are abandoned other turns which relativize it a bit and add some complexity to the emotional situation we’re in.
Wounded ego, disturbing behavior and sins on stage
structure Next door recalls idiots dinnercolossal comedy by Francis Weber (1998), because of the fate that cannot be reached because of the incredible mess that is maintained in great acting duel, it’s damn important. And between the wounded ego, the disturbing behavior and the sins exposed, there are moments of uncertainty in which one must decide what to think of the figure of Daniel Brühl and the deuteragonist Peter Kurth.
The first offers us calm but detailed planning, with very beautiful theatrical bouquet both in it and in the libretto; and not only because it is developed in one place. It avoids the ever-present threat of lazy composition lacking ingenuity, or at least a true audiovisual perspective, in such sentences. One of those who end up ignominiously falling off a cliff into a languid, moth-eaten, or misplaced seventh art.
The minimalist and absent soundtrack by Moritz Friedrich and Jakob Grunert influences its stage spirit. In short, we can put it in a bag without any fuss. wild god (2011) or two versions boys in a group (1970, 2020), which he almost dwarfs. But by no means in Track (1972) or Method (2005), these are big words. And still Next door absorbs more than Marvel Cinematic Universe films. God bless Daniel Brühl.
Source: Hiper Textual
