爱情故事总是现代的。然而，消费者的口味发生了变化。从这个意义上说，电影《A Thousand Muted Songs》是不可抗拒的话题。它是由两个女人写和导演：Christiane Hollger（编剧）和Claudia Holldack（导演）。地点是1976年的柏林（柏林成为土耳其语的城市的一部分），展示了两个20岁孩子的情感生活。这女孩和男孩来自不同的背景。这个女孩，穷，活泼强壮，已经取得了教师的永久职位。尽管她有恋爱的经历（“到现在为止，已经十二岁了。她完全没有发育到能够用语言表达自己的感情。在极度幸福的状态下，她只能用“我被甩了”来表达。与她不同的是，这个男孩，一个学经济的生物专业学生，知道如何表达自己。 他展示了他如何完美地剖析自己和他人的感受。也就是说，“他会用笛子吹一千首无声的歌”。一个半小时长，令人毛骨悚然。影片实际上只展示了这两个情感领域的碰撞，毕竟，这两个情感领域是同时发生的。这部电影的制作人并没有停留在表面上，他们从二元性到二元性分析了这些错误的平庸根源和不寻常的原因，特别是年轻人的错误。无论如何，从女性的角度来看，很重要的一点是，这种尴尬的性行为，已经足够表现出来了，是另一种——我们可以说是一种更具亲情的能力。 可以理解的是，这一立场为双性恋创造了一个空间，它徘徊在这两个20岁的年轻人之间的相遇的气氛中。 在相当长的一段时间里，这部故事片具有纪录片的质量。把握现实的欲望非常强烈。这部电影的力量来自于这种严肃性。 Love stories are always modern. However, the consumer's taste has changed. In this sense, the film “ A Thousand Muted Songs'“ is irresistibly topical. It was written and directed by two women: Christiane Hollger (script) and Claudia Holldack (direction). The location is Berlin (a section of town where Berlin has become Turkish) 1976 and exposes the emotional life of two twenty-year-olds. The girl and boy come from very different backgrounds. The girl, poor, is lively and strong, and has achieved a permanent position as a teacher. Although she has experience in love (“Up 'til now, it's twelve. Papa“), she is fully underdeveloped as far as being able to express her feelings in words. When in an state of utter happiness, she can express it only with “I'm flipped“. In contrast to her, the boy, a biology student of means, knows how to articulate himself. He demonstrates how perfectly he can dissect his own feelings and those of others. That is to say, “He flutes a thousand muted songs“. One and a half hours long, paralyzingly and terrifyingly, the film shows actually nothing more than the collision of these two emotional spheres, which were, after all, at one time one. The makers of the film do not remain on the surface; they analyze — from duality to duality — the banal origins and the uncommon causes of these errors, especially those of the young man. In any case, it is important to this feminine perspective that the awkward sexuality, of which enough is shown, is of another - shall we say a more affectionate - caliber. Understandably, this position creates a scope for bisexuality, which hovers in the atmosphere of the encounter between these twenty-year-olds. For considerable lengths, this feature film takes on the quality of a documentary film. The desire to grasp reality is very strong. The film's force derives from this seriousness.