Phoenix (2014)

The German troops are just outside Paris. Georg escapes to Marseille at the last moment. His luggage contains the legacy of a writer named Weidel, who took his own life out of fear of persecution. This legacy comprises a manuscript, some letters and the Mexican Embassy’s assurance of a visa. Only those who can prove that they will leave are allowed in this port town, and this means you need an entry permit from a potential host country. Assuming the identity of Weidel, Georg tries to obtain one of the few scarce passages on a ship. Talks between refugees take place in the corridors of his small hotel, the waiting rooms of consulates, and the cafés and bars down at the harbour. Georg befriends Driss, the son of his late comrade Heinz, who died whilst trying to flee. But when he meets the mysterious Marie, his plans change. Transit is based on Anna Seghers’ eponymous novel which she wrote in exile. The film is set in contemporary Marseille where these characters from the past move around. And so, refugees from back then meet refugees from today, history meets the present, and all of their stories combine to create one eternal transit space.

Summer, 1980. Barbara, a doctor, has applied for an exit visa from the GDR (East Germany). Now, as punishment, she has been transferred from Berlin to a small hospital out in the country, far from everything. Jörg, her lover from the West, is already planning her escape. Barbara waits, keeping to herself. The new apartment, the neighbors, summertime, the countryside – none of that means anything to her. Working as a pediatric surgeon under her new boss Andre, she is attentive when it comes to the patients, but quite distanced toward her colleagues. Her future, she feels, will begin later. But Andre confuses her. His confidence in her professional abilities, his caring attitude, his smile. Why does he cover for her when she helps the young runaway Sarah? Does he have an assignment to keep track of her? Is he in love? But as the day of her planned escape quickly approaches, Barbara starts to lose control. Over herself, her plans, over love.

Undine is a historian who works as a museum guide in Berlin. She knows all about the Humboldt Forum, and has the knack of choosing just the right blouse and suit. She is nonchalantly beautiful, and the way she imparts her knowledge about the city that was built on a swamp is as professional as it is graceful. And yet, time and again, her gaze wanders over to the courtyard café at the Stadtmuseum to see if he is there, or is still there, or if he’s there again. Him. But Johannes is leaving, leaving her, and Undine’s world is collapsing. The magic has gone... Christian Petzold reworks the myth of the mysterious water spirit as a modern fairy-tale in a disenchanted world. His Undine defies her role as a powerless and spurned woman and falls in love anew, with Christoph, who dives into the sunken world of a reservoir. Petzold’s deeply assured work reimagines this legend by way of his own cinematic vision, in which precise everyday gestures are combined with ghostly hyperrealism. The story of a life-or-death love, splendidly and effortlessly told.