A passive woman finds a new love of violence in the high-octane new film from German director Jakob Lass, who scored a hit in 2013 with his second feature Love Steaks and follows the ‘FOGMA’ manifesto that he developed while working on that film. Loosely based on the Danish Dogme movement, FOGMA emphasises risk-taking and teamwork in filmmaking, and one of the main tenets is that the dialogue is improvised. The result is a naturalism in the performances which provides an interesting contrast to some of the more cartoonish elements – the slick violence, the colour-popping production design. It all adds up to a breakneck pace and the kind of fizzing, unpredictable energy which should connect with a younger audience. While it doesn’t have anything approaching the bold and original formal device of Sebastian Schipper’s Victoria, it has a similar hip appeal. (Source: Wendy Ide). Margerete (Maria Dragus) takes up a job as a security guard after failing the police entrance exam. A mysterious heroine, simply named Tiger (Ella Rumpf) comes to her rescue one night when Margerete is struggling to deal with a sexually aggressive colleague. The duo begin regaining the streets for women, putting pushy males in their place but soon their violence loses sight of the moral ground. Tiger girl is part of the Panorama section at Berlinale 2017.
