“Tatort” inspector Francesca Wise talks about her exciting new film in Hamburg, in which she is focusing for the first time.
Francesca Weisz’s premiere (42): For the first time, the actress, who plays Julia Grosz in Hamburg’s Tatorte alongside Commissioner Falk (Watan Welk Moring, 55), was the centerpiece of the film. in “Shadow Life” (Sunday, June 12, 8:15 p.m. on the first) Julia Grosz investigates a secret – and that’s not the only thing special about this movie.
This is what “Tatort: Schattenleben” is all about.
Plot of episode 1204 “Tatort”: When her ex-lover Ela Erol (Elisabeth Hoffmann) Julia Grosz asks for help and disappears without a trace after a mysterious meeting, the commissioner appears under a false identity in a left-wing independent scene in Hamburg. . A decision with dire consequences: inadvertently, Julia Grosz falls between the fronts of violent women and brutal police officers.
Meanwhile, her colleague Thorsten Falke hunts down a person who left a fire responsible for the death of the wife of a high-ranking detective. But what role does aggressive activist Nana Leopold (Gina Haller) play, who fights racism and wants to seduce Julia? And who are the powerful, self-covering colleagues on whom Commissioner Valcke appears to have stepped on his toes during his investigations?
Photo Gallery: “Crime Scene: Shadow Lives”
“Often the audience wanted to know more about Julia’s life,” says Franziska Weisz in an interview. “That’s why the production and editors decided to shed more light on my character’s past.” This also includes a previous relationship with a close friend. “I think it is good that Julia has allowed herself to love a woman. For it is one of her characteristics that she does not admire men or women, but rather admires people as such.”
But this “crime scene” not only breaks new ground in terms of content: “Our director Mia Spengler did ground-breaking work with Schattenleben because she insisted on using Inclusion Rider,” says Francesca Wise. The term comes from the US entertainment industry and describes a contract clause aimed at To ensure more diversity in the film and television industry. According to this, certain groups of the population – such as women, people of different skin colors as well as people of the third sex and people with disabilities – should be involved in the production by a specified percentage. In the specific case of a “crime scene” , that is: 65 percent of all key positions in Schattenleben were held by women – and 17 percent were held by so-called “BiPoCs” (“Black, Indigenous, Colored”), that is, people who are often subjected to racism because of the color of their skin.