Comments on the movie
“Muslim life in Berlin, mysteries and threats: the cinema drama “Monolith” by Julius Schultheiß charges the mystery genre with a great deal of seriousness. (…) It looks like it’s about surveillance. “Monolith” follows the protagonist through a day, and through Berlin. Step by step, an emergency situation becomes apparent (…) Could it be that Samir is involved in an attack plan? (…) The fact that Schultheiß works with the facets of Muslim terrorism gives “Monolith” an urgency that could also be seen as speculative.” (Bert Rebhandl, Frankfurter Allgemeine Zeitung)
“(…) Schultheiß stages the events in mostly raw images with subtle tension. For the most part, the audiovisual realization is close to reality; occasionally, however, slow motion, accompanied by dramatic music, is used to alienate the whole. In Monolith, he takes us into a very lonely parallel world in the middle of vibrant Berlin. The group we experience at the beginning seems to be one of the few points of reference for Samir to an everyday life, to an existence outside the darkness. We see a person who threatens to lose himself more and more within 24 hours.(…) (Andreas Köhnemann, kino-zeit.de))
“(…) “Monolith”, compressed into a narrative time of 24 hours, is borne by nervousness and stasis, but these energies do not always translate into a relationship of tension. Some stylistic devices – such as the repeated slow-motion shots – also seem a little arbitrary. Overnighted, a pursuer who nevertheless appears to be pursued himself thanks to his erratically observing camera angles, Samir drifts through the city. His cell phone is constantly ringing, sending him on some kind of trail. Between his assumed role and his broken life, his own existence increasingly slips away from him. (…)” (Esther Buss, Filmdienst)