With great clarity, the film conveys how discipline can be directed both inward and outward.
In Kaspar Heidelbach’s project, aesthetics mustn’t get in the way of the easy outrage the film aims to trigger.
The Orwellian intimations are, like the copious shout-outs to Brecht and Beethoven, catnip to audiences who never heard of The Lost Honor of Katharina Blum.