Nothings demonstrates the fragility of human life more clearly than the sight of a newborn child. And so the film Into the World begins, though slowly and quietly, with an alarming image: that of a gasping infant in an incubator. A baby behind Plexiglas, doubly cut off in the intensive-care unit of a gynecological clinic in Vienna: This is the film's subject, the innermost chamber in the world. This study of an institution shows daily routine, and also matters of fundamental importance, in an expedition through nurses' lounges and maternity wards, through reception areas, waiting areas and examination rooms. Director Constantin Wulff dispenses with the conventions of television reports: He doesn't provide well-rounded portraits of women about to become mothers, or "what's she doing now" stories, or classic human interest stories, he takes a different approach, presenting brief, intense episodes.
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