Berlin Film Review: ‘In the Aisles’

In the opening moments of Thomas Stuber’s third feature, the amiable romance “In the Aisles,” the camera noses around the empty warehouse supermarket in which it’s set.

All is quiet in Gourmet Foodstuffs.

Nothing stirs in Beverages.

But then the strip lights flicker on high above the silent stacks, illuminating row after row of crated bulk goods.

And finally a forklift glides across the screen, then another trundles by.

Looked at from a certain, rose-tinted angle, this ugly, commercial enterprise is actually dancing a ballet as it comes to life for another shift.

And just in case we didn’t fully appreciate the implications of this mechanized choreography, it is scored to Strauss’ “Blue Danube.” The mild and gentle pleasures of this crookedly hopeful little film are all laid out here, as well as the way it knocks against cliché at times.It is the first shift for newbie Christian (Franz Rogowski, anchoring the second

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