It all starts when slaughterhouse operator Werner Haas has slaughterhouse waste dumped in his front garden one night - obviously a radical protest against his business. The enraged businessman immediately reports the incident to the police, whereupon the local police begin an investigation. Possible witnesses are interviewed in the neighborhood and at the slaughterhouse, and the officers also question a number of animal welfare activists. There is hardly any concrete evidence or clues, but there are plenty of opinions on the subject of slaughter and meat consumption.
Meanwhile, a volunteer at the local newspaper takes the incident as an opportunity to investigate the planned expansion of the slaughterhouse. She also scrutinizes the role of the local authorities...
“Amusing, witty and astonishing in its reduction and staged simplicity.” (Björn Schneider, on: Programmkino.de)
“The screenplay by journalist and animal rights activist Hilal Sezgin is much smarter than 50 people could have been interviewed for a documentary.” (Ulrich Sonnenschein, on: epd-film.de)
“The film project was created as part of the “FÜR DEN FILM” acting workshop with more than 50 actors thanks to the commitment of the coaches, lecturers and everyone involved in the workshop. A remarkable achievement. Without explicitly being an experimental film, THE ALL IS ONE functions as a cinematic experiment, as a mirror for the audience, which can deal with a colorful bouquet of opinions and reflect on its own attitude.” (FBW jury statement rating “valuable”)
“Schönenberg omits gruesome images from inside the slaughterhouse, a non-place that many people like to ignore. He lets his characters tell their stories in his courageous mixture of a ludicrous provincial thriller and powerful ethical and philosophical social criticism, which is based on the idea of producer Tobby Holzinger and the screenplay by author, journalist and philosopher Hilal Sezgin (...) 'The All is One' is a committed film project that should and will initiate discussions.” (Stefanie Borowsky, on: kino-zeit.de)
It all starts when slaughterhouse operator Werner Haas has slaughterhouse waste dumped in his front garden one night - obviously a radical protest against his business. The enraged businessman immediately reports the incident to the police, whereupon the local police begin an investigation. Possible witnesses are interviewed in the neighborhood and at the slaughterhouse, and the officers also question a number of animal welfare activists. There is hardly any concrete evidence or clues, but there are plenty of opinions on the subject of slaughter and meat consumption.
Meanwhile, a volunteer at the local newspaper takes the incident as an opportunity to investigate the planned expansion of the slaughterhouse. She also scrutinizes the role of the local authorities...
“Amusing, witty and astonishing in its reduction and staged simplicity.” (Björn Schneider, on: Programmkino.de)
“The screenplay by journalist and animal rights activist Hilal Sezgin is much smarter than 50 people could have been interviewed for a documentary.” (Ulrich Sonnenschein, on: epd-film.de)
“The film project was created as part of the “FÜR DEN FILM” acting workshop with more than 50 actors thanks to the commitment of the coaches, lecturers and everyone involved in the workshop. A remarkable achievement. Without explicitly being an experimental film, THE ALL IS ONE functions as a cinematic experiment, as a mirror for the audience, which can deal with a colorful bouquet of opinions and reflect on its own attitude.” (FBW jury statement rating “valuable”)
“Schönenberg omits gruesome images from inside the slaughterhouse, a non-place that many people like to ignore. He lets his characters tell their stories in his courageous mixture of a ludicrous provincial thriller and powerful ethical and philosophical social criticism, which is based on the idea of producer Tobby Holzinger and the screenplay by author, journalist and philosopher Hilal Sezgin (...) 'The All is One' is a committed film project that should and will initiate discussions.” (Stefanie Borowsky, on: kino-zeit.de)