Laura does her laps on an ice rink in the midst of many people. Pop music blares from the speakers. The next day she is found dead and wrapped in plastic in a park. While investigating the murder, police uncover a possible connection to the case of the missing Anne, who disappeared after visiting the ice rink several years ago. “The light that the dead see” is the name of the dark, haunting crime thriller in the ARD series “Polizeiruf 110” from Munich on Sunday (May 15) at 8.15 p.m. in the first and in the ARD media library.
The film revolves around the themes of relationship and trust. Verena Altenberger is investigating her fifth case as Chief Inspector Bessie Eyckhoff. Also there is Stephan Zinner (“Kaiserschmarrndrama”) as Commissioner Dennis Eden.
Suddenly a woman is standing in front of the station. Caroline Ludwig (Anna Grisebach) fears that the dead person could be her daughter Anne – a mistake. But instead of at least getting certainty about Anne’s fate, the mother herself becomes a suspect. Inspector Eyckhoff, on the other hand, believes in her innocence.
“Police call 110” shows how relationships are manipulated
With calm and haunting images, “Polizeiruf” shows how relationships work and how they are manipulated. The commissioners take on two opposite roles. Altenberger as a police officer who is understanding and approachable and wants to solve the case. Zinner, on the other hand, does not believe in personal moments under the pretext of professionalism.
“For me, police work, or what I understand of it now, has a lot to do with acting,” Altenberger explains her approach to the role in an interview with Bayerischer Rundfunk. “I think good investigators are good at putting themselves into other people’s shoes and really want to understand their counterparts – without judgment.”
The screenplay, written by Sebastian Brauneis and Roderick Warich, is complemented by the calm imagery of director Filippos Tsitos transformed into a film that gets under your skin. He transports the story through the atmosphere and the perspective that the viewer gets on the events.
“Our goal is to hit the subconscious and get under the skin of the story, the characters and their conflicts,” explains Tsitos. For him, films are not reports about life, but dreams of it.