A Smartly Witty German Family Comedy

Combining the surrealism of Yorgos Lanthimos with the unexpected twists of M. Night Shyamalan, the darkly comedic satire What Marielle Knows (Was Marielle weiss) presents a sharp critique of a troubled affluent family grappling with hidden truths.

This sophomore effort from German director-writer Frédéric Hambalek marks a significant progression from his low-budget debut, Model Olimpia, which explored similar thematic territory. The film, distinguished by its meticulous design and strong performances, premiered in competition at the Berlinale and has the potential to attract arthouse distributors. It may also hold promise for a remake, although a more mainstream version might need to tone down its explicit dialogue and controversial themes.

Where M. Night Shyamalan’s The Sixth Sense features the haunting phrase “I see dead people,” What Marielle Knows introduces us to a scenario that might be distilled to: “I see everything my parents do.”

This extraordinary ability befalls Marielle, the film’s teenage protagonist (Laeni Geiseler), after an altercation with her best friend. Suddenly, she can perceive her parents’ every action, whether they’re at work, in the car, or behind closed doors.

While this might pose insurmountable challenges for a picture-perfect family, Marielle’s parents are anything but ideal. Their seemingly ordinary existence—a beautiful suburban home and prestigious jobs—masks deeper conflicts.

Beneath the serene exterior, Julia has engaged in provocative flirting (rated R for its intensity) with a coworker (Mehmet Atesci), while Tobias finds himself powerless against the marketing team he oversees, struggling with humiliation. They maintain an illusion of normalcy until Marielle reveals her newfound perceptual abilities, forcing her parents to confront their hidden lives.

This revelation leads to a series of darkly humorous and dramatic moments, posing questions about the nature of identity within the family dynamic. Are we true to ourselves only within the confines of home? How do we balance authenticity with the possibility of causing pain to those we love? To what extent are we performers, donning masks in our daily lives?

As Marielle exerts her newfound power to observe her parents, their reactions evolve from fear to disdain. Their initial attempts to improve their behavior only exacerbate the situation, leading them to revert to their vices—Julia’s affair intensifies while Tobias struggles to reclaim his authority, often with disastrous outcomes.

Hambalek skillfully orchestrates the escalating tension, creating an engaging narrative that humorously highlights the absurdities of family life. One particularly amusing scene involves Julia and Tobias communicating in French, confident their daughter can’t decipher their words, a common tactic among parents to keep secrets.

At its core, What Marielle Knows serves as a thought-provoking commentary on the importance of privacy in our lives. While not a revolutionary idea, its clever premise underscores how vital it is to maintain sanctity in our personal affairs, notably in today’s era of social media oversharing. At one point, Marielle’s parents suspect she may have hijacked their devices just to spy on them.

However, the movie falters in its exploration of Marielle as a character. She emerges less as an individual and more as a vessel for the narrative’s developments. Hints at her potential neglect surface, yet there’s insufficient depth in her character’s relationships to support the unfolding drama. As Julia and Tobias enjoy rich character arcs, Marielle often wanders through the story with her supernatural insights, culminating in an ambiguous ending that suggests her abilities may linger beyond the film’s conclusion.