A strong inner conflict is the real focus of Sparta. Ewald laughs when he plays with the children. Slowly, however, his laughter turns into a cry. A cry that nobody notices, that only vents inside a car or in the retirement home where his father is. Subtle facial expressions say more than a thousand words. Ulrich Seidl (and the excellent Georg Friedrich) render all this perfectly and show us how the protagonist is actually the only real victim of his own weaknesses. At the Viennale 2022.