“#SchwarzSchafe” in the cinema – “Dit is Berlin, Alta?”

“#SchwarzSchafe”, like its almost the same name (without the hashtag), could have been a very funny episode class. With comedies, however, it is like baking cake: if you change the ingredients and quantities and, above all, the timing too much, the recipe no longer works. The result is a pale lump or a floury disaster. You don’t have to use suitable comparisons – the new “#Schwarzschaf” fails on the screen in almost every respect.

It starts with the film material. The Swiss director Oliver Rihs shot the original predominantly in dirty black and white. Of course, this art film look was just as true to the stylistic device as ironic comment on what was going on in the capital at the time: garage aesthetics in Hohen contrasts. There was also garage music by King Khan and the Black Lips, who explained to Berliners in the White Trash fast Fast Fastrash moved to Schönhauser Allee, which international medium -sized bridges with amphetamine background belonged. At least they were still sweating without playback. At that time, nothing paid in the social system behind the counter, while their stunned spectators were already able to highly horny from the Canado-American cultural ties, but at least still paid three euros for 0.3 liters of Plopp Flensburg.

So now full color and ugly computer effects, plus hip -hop. You don’t want to contradict, that’s what it is now. But just everywhere! Although experienced capital residents recognize the café on the Kottbusser Tor and the toy shop in Wilmersdorf and the unpacked shop on Wiener Strasse and the failure airport, the events that are happening here have become universal. In every metropolis there are abrupted artists, clan families, gender expats, mini-thunbergs and male prostitutes. “Dit is Berlin, Alta?” – Nah, it is no longer. There is every major European city. And 20 years later, every European big city sends itself to exhibiting this misery as confidently as the cheap Berlin once. Department chains and bare prefabricated buildings on the bank were added at a seven -digit price, plus bicycle streets. You cannot accuse the state of the world, but he has to make a little more effort to observe if he at least wants to be funny.

But the film relies on its obvious absurdities. Clan boss Omar (Yasin El Harrok) wears too tight brand shirts and drives the lobster through business life. Traditional lifestyle in Nordneukölln, but times change: his nephew Sami (Adrian Kourosh), a generation later no longer a Macker, is just as queer as his peers. Omar’s eight -year -old daughter Dalia (Nora Estelle Martha Malachowski) sees the climate adhesives on the iPad, and although the oriental princess lives in the glitter paradise, she realizes that her dad is stealing her future. Omar leans over to the pressure of youth and wants to make the clan climate -neutral. That is absurd, clear. But it is not funny, even if the RiScha now gondoles through the neighborhood instead of the lobster. The art daughter Delphine (Jella Haase) with her tasteless gender dolls, her failure brother Fritz (Frederick Lau) and the bees on speed is just as unpleasant. The continuation of Peters and Charlotte’s love story is just as unpleasant. Because who actually has the first part so good in mind that he would get any allusions to it?

Skip -griped and poorly clocked reveal and explain the freewheities from the beginning and constantly. Look, that is Berlin. Look out, that’s fun. Small practical example: Charlotte disposes of the murder weapon in the public garbage can. She hectically notices that she has thrown the pistol into the wrong subject. Instead of in “packaging”, the firearm naturally belongs in the “residual waste”. If the iron reaches out of the waste and properly sorts it. Good gag. However, he has to be commented on with “that’s how it is”. No viewer is so stupid, not even in Berlin, Alta.

“#SchwarzSchafe”: Germany, 2025. Director: Oliver Rihs. Book: Oliver Rihs, Ana Cristina Tarpo, Daniel Young, Ziska Riemann, Melanie possible, Oliver Keidel. With: Jella Haase, Yasin El Harrok, Jule Böwe, Frederick Lau, Milan Peschel, Narges Rashidi, Marc Hosemann. 93 min. Now in the cinema.