Stereo

Erik runs a modest motorcycle workshop in a quiet provincial town, trying to keep his past quiet beneath the surface. He appears to be a steady, ordinary guy, even as a tattoo on his forearm hints at trouble he's faced. He and Julia are building a life together and Linda treats her new dad with affection, a small beacon of calm. Then a strange man named Henry starts shadowing Erik, appearing in doorways and edging into conversations, every move calculated to unnerve him. Erik tries to ignore the intruder, but Henry keeps finding ways to intrude. Soon a violent gangster named Keitel enters the picture, threatening not just Erik but Julia and Linda, turning Erik’s safe harbor into a minefield.

Directed by Maximilian Erlenwein, Stereo lands as a compact German thriller presented in lean, malevolent bursts. It seems to draw on an original screenplay rather than a widely known source, with a straightforward setup that tightens as it progresses. The look is crisp, with restrained lighting and tight close ups that heighten the sense of surveillance.

Critics note a tense mood and strong performances from Jürgen Vogel as Erik and Moritz Bleibtreu as Henry. The film probes how privacy vanishes when a quiet life is spied on and how a man may bend to protect his family under pressure, with danger simmering under calm surfaces.

Box office details are not widely reported for this title, keeping the financial performance outside public view. The German release circulated mainly in art house cinemas and on streaming platforms, suggesting a modest domestic reach in select markets.

While Stereo did not spark a major cultural phenomenon, observers note its spare everyday setting and how suspense arises from ordinary life rather than high octane action. Erik's workshop becomes a window into fear that many viewers recognize and discuss later.