Movie review | Berlinale Bloggers
"Cuckoo": a disturbing journey to the heart of mystery

"Cuckoo" (2024), presented in the Berlinale Specials Gala section, was written and directed by Tilman Singer, a German filmmaker who has unfortunately been out of the spotlight since his impressive debut feature, "Luz", released in 2018 (also presented at the Berlinale, but in the Perspektive Deutsches Kino section).

By Laurance Ladouceur-Darby, Maya Sapronov

Despite this absence of over 5 years, Singer is back with an intriguing film which utilizes many of the same methods that made his first film a success, namely an ultra-weird and original concept, developed within the framework of traditional horror cinema.

Singer focuses on Gretchen, a 17-year-old girl who leaves America to join her father and his new family in Germany. As soon as she arrives, she is welcomed by Mr. König and quickly realises that something strange is going on in the neighbourhood. Singer manages to create a captivating story while respecting the usual horror film conventions. Punctuated by effective jump scares, the film keeps viewers on the edge of their seats throughout its 102-minute running time.   

sinister cinematography   

The remarkable art direction plays with colours to alter the atmosphere and evoke a range of emotions in the viewers, not least a constant sense of unease. The recurring use of green throughout the film supports the narrative of mystery and the supernatural. The colour evokes a sense of danger, the impression that something is wrong in this universe, heightening the suspense and creating an eerie atmosphere. This is amplified by the music which, mainly incorporated via the characters, skilfully manipulates the viewer's emotions. One of the film's strong points is the camerawork, which supports the protagonist's sense of alienation and isolation with brilliant tracking shots.    

A conventional finale   

In the final third of the film new information emerges, sometimes without any real affect to the story's outcome. Despite its undeniable appeal, Cuckoo leaves many questions unanswered. The many twists and turns, some of which are more Western (a final duel?) than horror, dilute the narrative impact and scatter the audience's attention. However, the dynamic editing manages to add fluidity to the narrative density by skilfully integrating these elements. Alternating between slow and fast rhythms, it infuses the film with a certain dynamism, while reinforcing the sense of anguish.    
  
Well made, Cuckoo undoubtedly offers a rich and demanding cinematic experience from start to finish. We would have preferred the director to push his story further by going all the way into madness (in the manner of contemporary Korean cinema) in the final third rather than falling into a more conventional narrative framework. Despite everything, Luz (2018) and Cuckoo (2024) are proof that Tilman Singer is a strong and original voice in current German film, and we'll certainly be in the cinema for his next film.