Aloys Adorn (Georg Friedrich) is a lonely PI who, after his father’s passing, buries himself in his work and slips into alcoholism. One night, after passing out, he awakens to find his beloved recordings missing and a mysterious girl (Tilde von Overbeck) who calls to invite him telephone walking.
Tobias Nolle’s debut feature as writer and director is an intriguingly human experience: open-minded and charming. Aloys doesn’t try to persuade us that fantasy is a good escape; the stark fantastical moments of vibrancy are brief and always followed by crushing reality. And yet, the film remains enlightening. In a way, Aloys is Nolle’s film about the dangers of assumption and he spends much of this film presenting an idea, then pulling it away from us. Even the initial reaction to Aloys’ eeriness is frowned on as we learn more about him. At many points, the film denies us a concrete answer on where we are or who we are with, letting its pair of outsiders draw up reality on their own terms, against the odds. Peter Brakers’ superb sound design deserves note for facilitating the clash of psychological and physical as much as the on-point performance. Aloys is a unique drama disguised as a detective thriller.
Dir. Tobias Nolle
Stars: Georg Friedrich, Tilde von Overbeck