Which baby wing should I buy?

When the baby grows wings

François Ozone's new work is, of course, a freak. How could it be otherwise with a film that begins with a howling prefabricated building dweller and suddenly has a flying, giggling baby as its theme from the middle? The situation seems clear: Ozon, the unpredictable French cinematic artist, after the costume ham "Angel", the building blocks are finally mixed up.

No other film angered and annoyed part of the audience at its premiere in the competition at this year's Berlinale so, no other surprised and grabbed others as much as "Ricky", to whom the deviously brave addition "Miracles Happen" is fanned out in the German title. Miracles were once called those monsters from the edge of the world who were shown as cephalopods, chimeras or elephant people at the fair. And only because "Ricky" is a film and not a real person, feelings could evidently break through here in the auditorium that no one would allow themselves to publicly encounter when meeting a Siamese twin: being offended by the violation of good taste - or loud laughing laughs at the absurd ingenuity of nature.

"Ricky" firstly demonstrates the realism of committed social dramas: the suffering of a single mother on the outskirts of the city observed with a slow camera. Katie (Alexandra Lamy) speaks tears to an employee of the social welfare office that she wants to take care of one of her two children, the father is gone, she is completely overwhelmed. Cut, flashback: "A few months before" Katie drives her pale daughter Lisa (Mélusine Mayance) to school on a moped. She herself works in a factory where she handles dangerous chemicals all in white. There she meets Paco (Sergi Lopez), they have sex in the toilet. It goes without saying that something that was created here cannot be right with baby Ricky: There was a leak in sector B, one learns casually.

But these are just a few of the wrong tracks that ozone can take. The chemical accident was forgotten again when the constantly crying baby had two purple bumps on its back. Katie suspects Paco of beating the child and Paco packs his things. But Lisa, a depressed child, also seems to be up to sinister things. Eh! Everything projection. Because what is actually behind it is now shown with anatomical accuracy: Ricky grow wings.

At first they look like chicken wings, but instead of horror à la Cronenberg's "Die Fliege", a new "Karlsson vom Dach" is now screwing its way up into the air: the fat kid rushes awkwardly through the children's room, the music strumming like a family comedy. Until, after a flight maneuver in the supermarket, the media become aware of the case and the film changes its tone again and Ricky changes its look: from the joke figure to the sublime, classicistic being between dream and reality.

As in "Angel", media attention becomes the ambivalent engine of happiness, into which a lot has to be projected again: "Ricky" as a meditation on the parental wish to have a very special child, the fear of disability, the loss of a child and the Another's recovery.

It was said to be a full-length joke. Which is not an objection at all if you don't define jokes as a short story with a punchline, but as a surprising combination of two completely different areas of the picture. The operation, says the doctor who wants to amputate Ricky's wings, is similar to the separation of Siamese twins. You can apply the scissors to such a cinematic wonder creature. Or, like Paco, gently stroke the strange creature while it is there. And then go for a walk again with the thoroughbred cinema convention.