For a movie that intends to celebrate life, this movie has the paradoxical quality that everything in it is highly artificial. As a girl suffers from a heart attack, for example, the person who is responsible for this dies in a car crash, so that his heart can be implanted by the girl - and to make it even more far-fetched: the car accident is a reminiscence of an almost-drowning-incident more than ten years earlier with the same actors (the mother Sybille saving the life of the boy, saves then in fact the life of her daughter). These forced plot lines are to be fond almost every scene.
The dialogs contain a similar paradox. The real subject of all speech is never named, yet the single sentences are perfectly clear and fit too perfect and very artificial to the things said before. This creates a sense of deepens that may do it well on stage (the scenario of Maria Goos was originally a lay) but on television it makes your stomach turn more and more as the film advances. And then I have not mentioned all drama and the sweet ending that catalyze this.
The dialogs contain a similar paradox. The real subject of all speech is never named, yet the single sentences are perfectly clear and fit too perfect and very artificial to the things said before. This creates a sense of deepens that may do it well on stage (the scenario of Maria Goos was originally a lay) but on television it makes your stomach turn more and more as the film advances. And then I have not mentioned all drama and the sweet ending that catalyze this.