The Teachers’ Lounge (2023)

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We first meet Carla Nowak (Loenie Benesch), a newly hired seventh-grade teacher, as she assists in investigating cases of theft among the student body. She’ll be the audience surrogate in The Teacher’s Lounge, director İlker Çatak’s fascinating character study of class and status in a German school system, and her introduction in the opening scene concisely demonstrates the central dynamic between her and the rest of the staff. Carla is the only one who considers the emotional safety of the students as her top priority while her colleagues are constantly aiming to protect the administration.

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And due to her role as a teacher she often feels she is powerless to speak her mind and refute the official procedures of the administration. Not long after a few brief conversations with the students and some keen observations among the staff, Carla is able to deduce that one of the teachers may be the real culprit and decides to set a trap. Then after bringing forth the accusation the film quickly reveals that the theft is only the backdrop for its true purpose, to explore the emotional unraveling that results from suspicion.

Much like The Hunt, a 2013 Danish film from director Thomas Vinterberg, we’re never led to believe the case of theft will be solved. What we are following is the desperate attempt to maintain order under increasing scrutiny. But what makes İlker Çatak’s film especially different from Vinterberg’s is the choice in perspective, the latter using point-of-view from the accused, the former portraying that of the accuser. It’s a gripping narrative with a clear vision for demonstrating emotional stress and the doubt that is symptomatic of an insufficient system.

Though well-acted and compelling in execution and tone, The Teachers’ Lounge misses an opportunity to make a declaration about what should be done with the subject matter. Without spoiling, the end of the film suggests a belief in how the school system is quicker to defend itself rather than the students in its care, a message worth talking about. But the film doesn’t take any risks with its conclusion. Perhaps the story was meant to be a statement about the futility of trying to work within such a system, but I can’t help feeling the messaging was inconclusive at best and could have taken an opportunity to suggest the possibility of change.

Carla is meant to be our sympathetic protagonist, as far as we are concerned, the entire world is against her. Yet, despite her increasing anxiety and the growing disdain from parents and teachers, she remains steadfast in her opposition to the measures taken by the administration. This might suggest that her suggestions are a healthier alternative, but we don’t get to see the fruits of her labor as a compassionate educator and we have no way of knowing if her efforts are worth encouraging.

In conclusion, The Teachers’ Lounge has a strong emotional core that maintains a compelling tension throughout the runtime while offering commentary on the disconnect between one’s status within the system in which they serve. Though İlker Çatak’s otherwise tight narrative misses the chance to speak about the consequences facing those who dare to challenge such a system, the film does a great job overall in connecting to the audience.