Guy Lodge Film Critic “Till the End of the Night” opens with what initially seems a Brechtian flourish: a nifty time-lapse shot of a bare shell of an apartment being painted, fitted, decorated and accessorized to an apparently lived-in state, as a vintage German torch song by Heidi Brühl crackles over the soundtrack.
It’s not a film set being dressed, however, but a police one — the home base for an elaborate undercover investigation. It’s not the first time Christoph Hochhäusler’s romantic detective thriller will hint at subversive ambitions that turn out, upon closer investigation, to be rather conventional.
Tossing a fraught transgender love story in the middle of an otherwise standard cop procedural, the film doesn’t much satisfy on either level, with superficial sexual politics and slack suspense.
Despite a Berlinale competition slot, prospects beyond home turf appear limited. What interest and ambiguity “Till the End of the Night” does have to offer is largely contained in the performance of transgender actor Thea Ehre.