What Markus Goller delivers is disappointingly trivial; his cinematic approach is deeply mediocre and unsatisfying.
In the summer of 2015, a young man named Lukas (Louis Hofmann) was so distressed by the plight of refugees attempting to reach Europe across the Mediterranean that he decided to take matters into his own hands. These refugees made the crossing in rubber boats—often dangerously overloaded—resulting in many lives being lost at sea. Faced with a lack of government assistance, Lukas decided to act on behalf of the refugees. He sought a boat to purchase and approached both banks and charitable organizations for funding.
Director: Markus Goller
Writers: Michele Cinque, Oliver Ziegenbalg
Stars: Louis Hofmann, Mala Emde, Katharina Stark
He even printed flyers to distribute on the street and raise public awareness of his cause. Initially, his appeals fell on deaf ears; no one wanted to help him. Later, Nina (Katharina Stark), inspired by his passion, joined him; following her lead, others such as Mauro (Felice) and Domi (Luisa-Céline Gaffron)—the team's PR specialist—also signed on to Lukas's mission. Even Kitty (Mala Emde) lent her services to the team. Director Markus Goller presents these scenes with such dynamism that Lukas secures everything he needs in the blink of an eye. Goller celebrates the spirit of youth.
The film also examines the tasks performed after each rescue mission, such as waste disposal and disinfecting the bunks in the ship's infirmary. *23,000 Lives* (*23.000 Leben*) depicts the tenacity with which Lukas and his team fight—against both right-wing factions and the authorities—to do the right thing. Despite their helpful and benevolent intentions, they are accused of human trafficking. The coast guard does not always assist them in their mission, and as if threats from strangers on Facebook weren't enough, men pound on the door of Lukas's apartment in the middle of the night.
One can consult Wikipedia to get a general idea or a summary of the actual incident that inspired this film. The disappointing thing is that Goller fails to flesh out that outline with details that are compelling, impactful, and—at the same time—deeply intimate. After completing their first rescue mission, a crew member speaks of having held a baby in his arms, while another weeps silently. For these young people, their first encounter with refugees must have been deeply moving.
Hearing about them on the news is one thing; interacting with them directly is quite another. Yet Goller does not seem to share this view; he does not allow Lukas and the others to delve into their experience. He merely hints at the emotional impact through the characters' sad expressions—which barely suggest that something has happened—without ever giving voice to their feelings. Goller employs the same approach regarding Lukas’s romantic relationship.
There are signs that Lukas and Kitty are drifting apart due to the time he spends at sea. Lukas even remarks that they seem to be living in different worlds, but Goller fails to develop this any further. The couple never discusses the stress affecting their relationship, and the director settles for summarizing their emotional estrangement through simple, superficial shots of unhappy gazes.
In August 2017, Italian authorities seized the rescue ship *Iuventa* and accused the crew of collaborating with smugglers to facilitate illegal immigration; this led to what the ECCHR and Amnesty International described as the "longest, most expensive, and most extensive" criminal proceeding ever brought against a civilian maritime rescue organization.
In *23,000 Lives*, the trial is reduced to an impersonal montage that offers only a general idea of what actually took place. The trial began in late 2017 and concluded in April 2024, unfolding against the backdrop of major global events such as the COVID-19 pandemic. How do these external events affect the accused? How do they mentally cope with an exhausting legal battle while simultaneously dealing with other major societal events and incidents? It is a shame that Goller offers such a superficial take on the story, given that the actual events are nothing short of inspiring.
His sole objective seems to be conveying a message along the lines of: "Look, this all happened, and you ought to know about it." Ultimately, Goller did not pick up the camera to do full justice to a subject of such profound significance; instead, he aimed to deliver a quick lesson on a real-life event. He brings no real edge to the political aspects; he simply "Netflix-ifies" the material to make it easily digestible. The organization Jugend Rettet may be led by heroes, but in *23,000 Lives*, their heroism is undermined by their portrayal as mere puppets serving the script. What Goller delivers is overwhelmingly trivial: his approach is deeply mediocre and unsatisfying.
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