Dominik Graf's "Bitter Innocence" twists about halfway through from a corporate thriller to a sweet love story borne out of the casual indifference and sexual violence men perpetrate on women. That the love forms between a twenty-something woman (Laura Tonke) and the young teen daughter (Mareike Lindenmeyer) trying to unravel the mystery her parents have immersed themselves in should come as no shock to those who've watched just a few of Graf's films. They are mostly love stories buried within a larger framework of genre. Last year's masterwork called "Fabian: Going to the Dogs" is one of the most lush romance films in years, buttressed against the backdrop of an encroaching Nazi evil. Situated firmly in the times it was made (1999), "Bitter Innocence" follows the same pattern as love is widdled out of the complicated yuppie mindset that those in the corporate world can get away with anything if their check book is large enough.
But before we get to the central relationship of Vanessa and Eva, Graf's film wanders through the thriller realm when aggressive boss Larssen (Michael Mendle) threatens to destabilize the vague pharmaceutical company Andreas (Elmar Weppar) has been conducting research within for the past few years. Andreas' fears about the wolf Larssen are confirmed when he discovers him raping Vanessa behind closed doors. Working as a waitress for a catering company providing services at a company party, Andreas doesn't report (or even lift a finger to help) the vulnerable Vanessa, instead using the the act to steal a file that may secure his employment..... which is a prickly move since Vanessa sees him dodge out without coming to any sort of chivalry rescue.
From there, Larssen, Andreas, his wife Monika (Andrea L'Arronge), Vanessa and young daughter Eva become embroiled in a cat-and-mouse game of who-knows-what and whose-blackmailing-who. It's about two-thirds of the way through that "Bitter Innocence" grows a moral compass in the scrappy personality of young Eva as she tries to set things right..... and falls in love with the sophisticated perfume salesman-Vanessa during the process.
With the visual style of a glistening television movie (Graf has careened through an array of features, both for the big and small screens) and a sense of rhythm like that of a soap opera, the film's themes of ravishing passions and high intrigue feel right at home with that lowbrow entertainment. But Graf's swirling ambition about the youth of the world being the most morally grounded figures in a world set on financial gain and personal advancement (and I didn't even mention the affairs!) fits right at home in the subversive tactics of a filmmaker who continually buries so much in his works. I look forward to carrying through with his expansive body of work.