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A series of thefts at school prompts one teacher to take matters into her own hands, but her actions lead to a spiral of unintended consequences in Das Lehrerzimmer (The Teachers’ Lounge).
Leonie Benesch gives a solid, understated performance as Carla, a seventh grade teacher who cares deeply for her students. She is particularly fond of Oskar (Leonard Stettnisch), a quiet, bright student full of potential. When a series of thefts prompts staff members to interrogate Carla’s students, she pushes back against the inappropriate conduct. In the spacious teachers’ lounge, Carla is led to believe the thief might be a member of staff. She decides to lay a trap for them in order to expose the truth and protect her students.
Unfortunately, although Carla has the best of intentions, her plan backfires and unintentionally causes harm and disruption to her class, and particularly Oskar. Carla suddenly finds herself embroiled in a bitter battle where she’s caught between unhappy parents, students, and staff. She tries hard to resolve the issue on all sides, not only because she’s extremely uncomfortable being the focus of everyone’s ire but also because she genuinely wants to repair relationships and shield her students from any fallout.
It’s clear to viewers that Carla’s heart is in the right place as she continues to stand up for her students at potential risk to her own position, but it seems like every time she tries to do the right thing or take a different approach, it leads to further disarray. Most regrettable for Carla is the breakdown of trust between herself and Oskar, and she is determined to make things right between them and put Oskar back on a path to success.
Stettnisch and Benesch are a wonderful duo as they react well to each other and are both quietly expressive with their face and body language. Some of the film’s strongest moments are found in their scenes together as teacher and student experience a narrative arc that sees a bond established and broken, and the beginning of a long road to reconciliation.
Director İlker Çatak uses the school as a microcosm for society as we bear witness to the inner politics between the different factions of faculty, students, and parents. The film physically never strays beyond the school, and the confined location is effective at heightening the tension as the situation further derails.
There is little music throughout the film, and it’s usually extremely subtle except in the most dramatic, stressful moments. In those instances of confrontation, the music becomes quite screechy, aptly evoking nails on a chalkboard.
Naturally, because we see the story through Carla’s perspective, we predominantly root for her and Oskar and less so for other (adult) characters. However, the film does keep us second guessing (particularly about the theft) and forces viewers to be open-minded instead of providing us with conclusive answers or directing us to pass judgment.
It works to the film’s benefit, especially as it makes us more easily connect with Carla’s stress and uncertainty about her actions. Like Carla, we continue to wonder if she was right or wrong about the thief, and the film is content to leave us there. This approach also ensures viewers have plenty to discuss long after the credits finish rolling.
Although the story also drops hints that a few kids know more about the theft than they let on, the film refrains from pursuing it further and instead stays firmly with Carla.
The Teachers’ Lounge moves along at a busy but efficient pace, all the while ensuring we keep up. It’s much the way I imagine teachers feel as they move throughout the day with their students. For Carla especially, it seems she’s always on the go with rarely a moment of peace or any down time to relax and regroup.
Written by Çatak and Johannes Duncker with cinematography by Judith Kaufmann, The Teachers’ Lounge has its world premiere at this year’s Berlinale as part of the Panorama section. The category screens extraordinary cinema and is a traditional audience favourite.
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