Of all the ways to begin a movie, few are more cruel than presenting a character such as Lara Jenkins and, before the audience has even gotten the chance to know her, showing her wearily open the w…
Film Festival, Gerster delivers his long-awaited sophomore film. This far-different project also features actor Tom Schilling, who embodied the open face of an uncertain generation in “Oh Boy,” though his role is far smaller here. Instead, Gerster focuses on the harder-to-read adults who came before, casting actressas Schilling’s mother, a severe and incredibly demanding civil servant who has dedicated more or less her entire existence to molding her son into a professional concert pianist.
There is the neighbor, a kindly but unsophisticated cab driver who recalls hearing “the sound of tinkling” from young Viktor through the walls years before. There are Lara’s former co-workers, who seem to fear her still, even after she has left the job, addressing her formally, rather than with her first name . There is her ex-husband , and also her mother , both of whom reprimand Lara for being too hard on her son.
She is, by almost any measure, a horrible person. Therein lies the third and most fascinating mystery of “Lara”: Why would this woman be deserving of her own movie? Lara, we learn, could have been a piano prodigy, too, but she was never good enough. Or so she came to believe. Petrified of embarrassing her parents in public, she gave up before she had the chance, transferring all of her energy into grooming Viktor instead — although her pattern, and the power she holds over the poor boy, is to let him excel until a point, and then to “pull the leash.
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