Die Theorie von Allem

The Universal Theory is a brooding and cerebral tale, blending mystery, science fiction, noir, and mad love. While it may disappoint genre fans seeking a pure science fiction experience, it excels as a haunting meditation on identity and desire. Rather than exploring scientific concepts in depth, it uses the aesthetic of science fiction to evoke pensive moods and profound existential questions. Though one of many recent multiverse movies, The Universal Theory stands apart, offering a unique and deeply emotional take on the concept.

Cultural touchpoints abound in reviews of the film, and rightfully so. Hitchcock, Truffaut, Lynch, Carol Reed, Dürrenmatt, and Maya Deren have all been referenced, and these comparisons feel apt. More surgically, I'd add Dead Mountaineer's Hotel (Grigori Kromanov's 1979 film and the 1970 novel by the Strugatsky Brothers) and Julien Duvivier's L'affaire Maurizius (1954). Dead Mountaineer's Hotel, another alpine-set sci-fi noir, seems like the film's clearest ancestor, while the paranoia, investigation, and shadows of Swiss-set L'affaire Maurizius resonate here too. And yet, for all its influences, The Universal Theory feels startlingly original, much like Alien-a film that, despite being a swag bag of looted stories and motifs, became its own iconic entity.

The story takes place in the 1950s, when a mysterious physics conference is arranged at a remote, snow-set Swiss hotel. Physics Professor Dr. Stratten and his doctoral student Johannes Leinert travel there, to find out more about the conference. However, the scientific gathering quickly fades into the background as strange occurrences and the enigmatic Karin capture Johannes' attention. Karin, with her jazz-inflected rendition of Couperin's Les Barricades Mystérieuses, embodies the film's central mystery: beautiful and endlessly elusive.

The Universal Theory uses its science fiction framework not for scientific exploration but to probe the fragility of human existence. There is a pervasive sense that something is slightly "off" about reality. A brilliant career reduced to mediocrity by an inexplicable obstacle. Profound declarations of love rebuffed by those we believed were our soulmates. Sliding-doors moments subtly alter the trajectories of lives: in one reality, a professor has ties to the Soviets; in another, he leans west. These questions linger: Could we be anyone? Are our identities largely circumstantial?

This is not a film for those who need clear answers or a neatly tied narrative. Like Couperin's piece, The Universal Theory is intricate and ambiguous, inviting viewers to reflect rather than resolve. Its particular cocktail of genres is niche, and its appeal may not be universal-as evidenced by the bemused silence of my fellow audience members as the credits rolled. Yet, I found myself deeply moved, clapping alone, the film's strange, shadowed beauty resonating long after the lights came back on.

The Universal Theory is a niche masterpiece of strangeness, shadows, and love-sickness. For those willing to embrace its haunting mystery, it offers an unforgettable cinematic experience.

It's actually a pity, the initial idea is quite appealing and the title and the advertising strategy have aroused great expectations. However, the film gets lost in a long series of quotes, stylistic devices and plot patterns, which were borrowed or copied from the works of famous directors. Thus, despite many mysteries and twists, the story becomes more and more predictable, and thus more disappointing. Unfortunately, the film completely lacks its own cinematic language, which would be necessary to remember the film as an independent work. As it is, however, it remains only as a thoroughly successful homage to Aldrich, Polanski, Lynch, Hitchcock, Truffaut, and, and, ... in memory.

The film is most convincing in its image composition, the black and white photography is beautiful, followed by the excellent actors. What the film would certainly have scored with is almost not used at all: quantum mechanics is only briefly mentioned, and the main character's groundbreaking theory is never explained, although it seems to be the key to the story. Instead, the emphasis is entirely on confusing the emotions, leaving many interesting possibilities for interpretation. The story never builds up to the great mystery that the title implies and becomes more and more annoying and shallow towards the end. What remains is a visually splendidly made film that is strangely conservative in the end.

It's not that often that a German-language film makes it into competition at the Venice Film Festival. The German director Timm KRÖGER, who was born in Itzehoe in 1985, succeeded in this this year. His film THE THEORY OF EVERYTHING is a shocker, illustrated in black and white cinemascope, that is extremely unusual and has a long-lasting impact in its intensity.

In a framework we see a seemingly typical talk show appearance from 1974: The author Johannes Leinert (Jan BÜLOW) presents his debut novel THE THEORY OF EVERYTHING. Apparently this is his own story, which is said to have happened twelve years earlier. Johannes of the year 1962 is on the way to a physics conference in the Swiss Alps with his doctoral supervisor (Hanns ZISCHLER). Once there, everything was delayed because the well-known physicist from Tehran was not yet allowed to leave. The scientists spend their time in the snow more often than not. Johannes meets a mysterious pianist (Olivia ROSS) who knows a surprising amount about him and his youth. When one of the professors (Gottfried BREITFUSS) is found dead and horribly mutilated, events take on increasingly mysterious features...

In beautiful images, Timm KRÖGER unfolds a stylish homage to film history and at the same time delivers an impressive puzzle with the passage of time in the 20th century. How all of this is connected is left to the interpretation of the individual viewer. The form and image design are based on German-language film history at the beginning of the 1960s, without neglecting international influences. In addition to cinematic role models such as HITCHCOCK and RESNAIS, one should also think of literary role models from KAFKA to Thomas MANN (DER ZAUBERBERG / THE MAGIC MOUNTAIN) to Friedrich DÜRRENMATT (DIE PHYSIKER / THE PHYSICS). But genre film influences from the Edgar Wallace films that were so popular at the time can also be seen. How well director KRÖGER knows film history is also shown in the treat that Johannes' novel is being filmed under the title LA TEORIA DEL TUTTO by the Roman Cinecitta, which was Hollywood's biggest challenger in those days. It is also wonderful that the exceptional German director Dominik GRAF (DIE KATZE / DIE SIEGER / FABIAN: GOING TO THE DOGS) was able to be won over as the narrator.

This film is extremely enjoyable, but may be too scattered and aimless for some moviegoers. But Timm KRÖGER has definitely achieved a great success, which once again shows us today's filmgoers the almost inexplicable fragmentation of world events in the 20th century. A film like this really comes at the right time!

A spontaneous decision to squeeze in one more film at Film Fest Gent made for one of my most enjoyable discoveries of the festival. After watching this B&W German film noir hommage, at a film festival, on a Tuesday afternoon, I jokingly said to my girlfriend (who I had been dragging along from film to film for three days) that she had now officially become a cinephile. Surprisingly however, I seem to be part of a rather small minority that absolutely loved this film, be it amongst those cinephiles or more casual movie go-ers.

In my opinion, Die Theorie von Allem wonderfully combines influences from many different genres to become something entirely new and exciting in its own right. The film most obviously borrows elements from film noir for most of its runtime (both in terms of plot and aesthetics), before giving way to a more surreal, almost Lynchian atmosphere in its final act. There was just so much to like for me in this film, from the many noir references to the gripping sequence where the protagonist literally goes through the rabbit hole, but the one thing that stood out to me was the absolutely gorgeous B&W cinematography. Filming this in black and white was an obvious stylistic choice to fit the typical noir material, but it also turned out to be surprisingly well suited to the decor of the film. The B&W shots of the stunning Alpine landscapes offer an original, mysterious and equally ravishing perspective on the imposing beauty of those high Swiss mountains. From the first shot of the film (after a short prologue in color), with a completely black background and more and more small flakes of snow slowly falling down the screen, I was completely hooked.

In short: Die Theorie von Allem starts off as a pitch perfect film noir hommage set in the Swiss Alps, gradually mixes in some classic Hitchcock thriller elements, before ultimately slipping out of our reach like an elusive Tarkovsky dream. By the end it's more Meshes of the Afternoon or The Mirror than The Third Man or Vertigo (it's certainly no coincidence that the film is preceded by a quote from avant-garde legend Maya Deren about myths, fact and fiction). Given that I love all of these influences, I guess I was the perfect target audience for this film, which did effectively make for an immensely satisfying experience watching it on the big screen at Film Fest Gent. The odds are pretty big that I'll be rewatching this on some dark and cold winter evening to soak in its dreamlike atmosphere and take in its beautiful imagery once more.

Aspiring physicist "Johannes" (Jan Bülow) is traveling with his tutor "Strathen" (Hanns Zischler) to a conference in Switzerland, aware that his rather radical thinking has narked his professor who wishes him to conform to more established theories. Indeed things are distinctly tense between them when they encounter "Blumberg" (Gottfried Breitfuss) on their train. He has some past with "Strathen" which isn't exactly friendly, but they continue their journey together with the young man promised any help he needs to get his dissertation over the line. Once they arrive, "Johannes" gets caught up in one of the many storms that frequent their mountainside hotel and seeks refuge in a church. Likewise, a few moments later, does "Karin" (Olivia Ross). He's immediately smitten but she doesn't hang around for long enough to even exchange names. Luckily for him, she happens to play the piano in the hotel's jazz bar and so maybe a meeting can happen after all? It's almost simultaneous with their arrival that he starts to feel distinctively out-of-sorts. A sense of déjà-vu often seems to follow him as he feels he has met her before somewhere. Her bauhaus vacillates between the distant and (very) friendly, which he doesn't really comprehend either. Also, his timelines seem to be jumping about and when the avuncular "Blumberg" falls foul of a tragedy his befuddlement takes on an whole new life of it's own? What is going on here? It's as if the mountain has it's own secrets to keep? Is it all just too much wine? Or is there something more sinister going on? His is a mind of the rational and the scientific - ill equipped for matters ethereal or superstitious, so when the police come calling asking questions about the enigmatic "Karin", what can he make of it all? There are some quite intriguing threads to the story, here, as it tries to intertwine the factual with the less easily explicable and the snowscapes, frosty characterisation of "Strathen" and monochrome presentation add effectively chilling elements as the plot reveals a sense of the we know that we are missing something, but we don't know what it is, and we might never know. Unfortunately, Bülow is a bit weak to carry this off, and the annoyingly fragmented story flits about too much to give us chance to really get our teeth into it. Sure, it's quirky, unpredictable and requires us to think on more than one plain at a time, but I found it just didn't give me enough pitons to climb the mountain without sliding down far too often to square one. It does look good and does remind us that perhaps science hasn't all the answers, but I left feeling a little like "Johannes". Bemused.