The Christian Summer has a specific climate: hot enough to distort the grass in the flat German countryside, but with a threat waving on the horizon of the most difficult and heavier weather, in addition to the primary cold within its characters ensures that they never dissolve under the sun’s rays. This signing season made the “Jerichow” background back to “Barbara” to “AFIRE” for the year 2023, and it descends again, again for the effect of warming and cooling simultaneously, in “Miroirs No. 3. 3.” A small, moist psychological drama of displacement and replacement and the fresh plum cake, where the days of nonsense are mixed with the uninfected shock by making new life and identities fraught with risk, the 86-minute puzzle is not one of the main director’s work, but it is characterized by its excellent pleasures from the tone-and it is constantly pushed with free lands Paula in the past.
Away from the emotional effectiveness full of the previous Petzold Nina Hoss, the beer can be isolated and difficult to read. Although it was a sarcastic disarmament, she relaxed in “AFIRE”, “Miroors no. 3”-by the Piano Ravel title that was played at a critical turn-received by a particularly remote personality and changing the shape, suffering from silent demons even before the tragedy that moves the story in the movement. Empty spaces and ambiguity in the film are still even after the Melodramrami axis can be seen easily, and it will tempt viewers and ignite it equally. It was displayed as one of the stellar attractions in the line of this year’s managers at the Cannes Festival, and it has already attracted the attention of a large -scale distributor, while obtaining Metrography Picturs on the rights of North America.
Laura, Laura, a young piano student in Berlin suffers from an unlimited mental crisis at the beginning of the procedures. It seems that she cannot express what anyone raises, at least all, her strict handsome friend, Jacob, who needs her to be on a model for the weekend of sailing with a possible product. After leaving the city, it has a sudden change in the heart, which prompted the angry Jacob to accelerate her return to the station in his open sports car-a terrible accident that kills him and leaves her alive but more sad than before.
We see the moment before the accident-where Laura shortly but closes her eyes with a middle-aged woman who lives next to the countryside-the bloody dimension later, but not how or why it happens. It is an relief escape from how “Miroors no. 3” works: immediate detection and moments of influence less interested in Petzold than its long -term effects. The closest thing to an external witness is my home (Barbara Ayer), the sad woman who met her lighter Laura before, and who saves her from the debris with reassuring calm, and returned her to her humble farm but she is an invitation. It is adequate enough that Laura, who was shaken by the accident but is not polite due to the loss of Jacob, required a survival indefinitely; I was surprised by my home, but she was happy to allow her.
There are sad and dark human reasons that apparently support this illogical behavior on the part of both women, and we approach them as soon as it appears that Betty is not alone in this faded extension in the countryside of Germany. Her hard husband, Richard (Matthias Brandt), and his superior adult Moh Trebs, are living nearby in the restoration workshop for cars they run together: Add this local division to the list of unnamed question marks and which ultimately adds a greater and sad story. They are confused about new access to their middle, but in time Laura and the only unit that is not burning to each other, and the four are strange and intuitive family units.
One of them senses what is in full swing even before my home begins to contact Laura in another name, while the local passers -by give them a strange look, but the full detection, when it comes, is not intended as a seismic development. Instead, there is a mutual healing path for this strange and secret summer to play a house, and Petzold notes its gradual appearance in accurate details of gestures, expression and local routine – and calms it when people fall intermittently from the character.
This is a short cinema of the story, less preoccupied with the full conclusions of the risky moments of clarity and access-as if it was a certain Xoban piece, Laura plays after my home requested strongly, blocks one personal memories with a resumed future for the future. The four actors play the energies of each other contradictory because they confirm their roles in this improvised new family: The beer keeps ventilation on a stadium slightly different from the ruling brood, who are different again from the container, but it is fine outside the scope of deadly control.
It is all assembled with the usual and backup Petzold elegance – it is made in some cases of absurdity and chaos, whether it is a convertible dishwasher or an explosive dishwasher, such as loud mechanical expressions of calm human disorder. Drawing in bleaching neutrality and the initial colors of solar burning, DP Hans fromm keeps the outlet on the air from melted stillness that hides with anxiety rash, with camera movements that turn from calm to predator with the mood of the scene. Meanwhile, outdoor rich sound design and outdoor tinnitus (or a speaker who surpasses “The Night Night” from Frankie Valley) with silent rest periods in which the characters can hear themselves in the end, for the best or worse.