The Second Awakening of Christa Klages

Margarethe von Trotta’s solo directorial debut, less technically accomplished and visually pleasing than Katharina Blum, is a similar female-centered political critique. Here the protagonist is guilty of a crime, the film starting immediately after a bank robbery planned to help a struggling kindergarten stay afloat. An almost embarrassingly forgivable motive for a crime, except Christa’s daughter belongs to it, and through her own life choices she rarely has the opportunity to see the girl; one assumes her future is in jeopardy if the kindergarten is forced to close. One after the other Christa’s accomplices are picked off, and nothing in the plan to transfer the money works out. She is dependent upon two friends, who can only do so much; but exploring these relationships is where the film really shines. Eventually Christa is forced out of society and completely isolated; her response to her steadily deteriorating circumstances is human and compelling. The other narrative followed intermittently is that of the bank clerk Christa held hostage on that day, who for reasons one can only speculate about is drawn to find and personally speak to Christa. Her character and motivation are left purposefully vague, but enough interest is generated that her final action gives the film all its thematic resonance, in a satisfying and jarring finale on a similar note to Katharina Blum’s.