Engaging Family Saga Unravels: Why ‘Dying’ Misses the Mark – A HeadStuff Review

Divided into five chapters, Matthias Glasner’s film Dying (originally titled Sterben) tells the story of the Lunie family, a deeply troubled group of four. Tom, a musician, grapples with personal turmoil. Ellen, a dental assistant, battles alcoholism. Their elderly parents, Lissy and Gerd, face declining health and mental issues. The film opens with Lissy in distress, setting a heavy tone that lightens occasionally with dark humor.

The opening scene contrasts chaos and concern. Lissy, on the floor, calls for help as her husband Gerd enters unexpectedly, adding confusion to an already bleak situation. Each family member has their own struggles, and these aren’t sugar-coated. Yet Glasner cleverly weaves in moments of dark comedy that keep this somber tale engaging.

The chapters alternate between family members, revealing their complex lives. Lissy, terminally ill, struggles to care for Gerd, who has Parkinson’s and dementia. Their children, Tom and Ellen, are too caught up in their own issues to provide help, resulting in Gerd being placed in a care home.

Tom’s journey is equally complicated. He faces the arrival of a child he did not father but still wants to support. Meanwhile, he is preparing a piece titled ‘Dying’ for a youth orchestra, written by his critical and troubled friend, Bernard.

Ellen’s life is chaotic as she succumbs to her drinking habits while juggling her job. Her relationship with her boss adds another layer of turmoil, especially given his family at home.

Though the film aims to explore mortality, it sometimes struggles to connect the families’ stories. Tom and Lissy share a poignant scene that highlights their bond, but many moments feel disconnected, making it hard for the audience to empathize with their struggles.

The use of phone calls across chapters serves as a clever narrative device, providing a thread of connection amid the chaos. However, this is not enough to unify the stories well enough for deeper emotional engagement.

Despite its issues, Dying holds a certain allure. Watching family dysfunction can be oddly compelling, much like observing a train wreck. The musical scenes are especially impactful, bringing depth that reinforces the characters’ emotional struggles. Ellen shines during her musical moments, although she can only express herself when intoxicated.

The cinematography captures moments of vulnerability beautifully, allowing the audience to soak in each emotion. The performances by Eidinger, Harfouch, and Stangenberg are captivating. Yet, Lissy’s character feels underdeveloped as the story progresses, despite her significant role early on.

While Dying offers dramatic tension and moments of heartbreak, many scenes feel too drawn out, lacking focus. The film presents a brave exploration of its themes but sometimes fails to give each character the attention they deserve, making their struggles with mortality feel less impactful.

As families navigate their challenges, the film reflects the complexities of love, loss, and connection. The way it examines death through the lens of dysfunction offers viewers both a mirror to their realities and a reminder that beneath the surface, there’s always more to discover.

For more on topics like this, check out the insights from the BBC’s Culture section, which elaborates on how films tackle difficult themes.

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