Philip Pratt

Philip Pratt’s filmography is kind of a wild ride if you dig into it. The guy’s been all over the place—one minute he’s tangled up in the gritty streets of Preußisch Gangstar (2007), the next he’s landing in something totally different like The Calendar Killer (2024). That last one—yeah, it’s as twisted as it sounds, with a serial killer who’s got a thing for dates (and not the romantic kind). It’s that classic cat-and-mouse game, but with a creepy obsession over time, and Pratt weaves this tension that honestly keeps you up at night. Then you’ve got Die Frau die an Dr. Fabian zweifelte (2002), which—okay, the title’s a mouthful, but the story’s just as tangled. There’s paranoia, doubt, and this slow-burn unraveling that makes you question every character’s motive. Pratt doesn’t just play it straight; he likes to throw curveballs, keep you guessing, and maybe mess with your head a bit. What’s cool about Pratt’s work is how he doesn’t stick to one flavor. There’s this jump from crime and psychological drama to full-on suspense, and each time it feels like he’s experimenting, not just phoning it in. You get these flawed characters, weirdly real conversations, and a vibe that’s sometimes dark, sometimes playful, but never boring. If you want a filmography that isn’t just a straight line—yeah, Philip Pratt’s your guy.