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Phoenix Movie Review & Film Summary (2. How do we process unimaginable betrayal?

Noir, romance, action, sci-fi, and comedy--Parks has movie screenings for all types of film buffs. Double Indemnity is a 1944 film noir directed by Billy Wilder, co-written by Wilder and Raymond Chandler, and produced by Buddy DeSylva and Joseph Sistrom.

How do we overcome. These are just two of the questions addressed by. Christian Petzold’s masterful “Phoenix,” a film that firmly cements its. With echoes of “Vertigo,”. Petzold’s film resonates long after its.

A film this satisfying on every level—one that can be enjoyed purely for its narrative while also providing material for hours of discussion on its themes—is.

This is a riveting piece of work that never loses sight of its. A film this satisfying on every level—one that can be. Advertisement“Phoenix” opens with a face profiled in darkness. Forbidden Films (2015) Movie Theatre on this page. It is the. face of Lene (Nina Kunzendorf), a woman driving a bandaged and bloodied. Berlin. Her face has been badly damaged, but she is a. After a brief encounter at a checkpoint, the.

She. was married to a handsome, confident man named Johnny (another Petzold regular. Ronald Zehrfeld). On October 4th, Johnny was taken in for. SS. Two days later, he was released, and Nelly was. Did Johnny betray his wife’s Jewish. And yet Nelly refuses to believe it.

She wants her old. And that means denial that her husband was and is a self- serving. After her plastic surgeon advises her that she can look like anyone.

I. want to look exactly like I used to.” She is defiantly, stubbornly in denial. Over Lene’s objections, Nelly returns to Berlin, seeking out. Johnny. She is a shattered woman in a city of rubble. She tells Lene, “I no longer exist.” The relationship. She finds some semblance of familiarity in Phoenix, the nightclub. It’s like a dream that people find. And that’s where she finds Johnny.

He. grabs her one night. He has a plan. He needs someone to pretend to be his dead.

It’s a film that has a deep cinematic language that avoids calling attention to its. Petzold’s choices are subtle, from the way he frames the expressive. Night and Day” in a crucial club scene to a climactic conversation that takes place on a train track, so deeply symbolic of looking in one direction to the past and the other to the future (as well as carrying historical weight with the trains that took people like Nelly to concentration camps). Advertisement. And that human drama is where Nina Hoss takes center stage. She calls his name, happily, even though she knows. It’s a name she’s called so many times before.

He looks past. her. Or maybe he looks at her and doesn’t see her. She can’t be there. His. brain can’t even recognize the possibility that she would be.

Hoss puts her. hand to her mouth in horror. It’s not Johnny’s betrayal but Johnny’s dismissal. This walking embodiment of when things made sense can’t see. Nelly” again, she.

At one point, Johnny asks Nelly to help craft a story about what he. Of course. the story Nelly starts to tell is true. Hoss holds her hands to her face, shaky. And Johnny is equally uncomfortable.

The fiction he. believes he’s creating and the reality they’re both denying are starting to. Hoss is simply amazing in this scene, and really throughout the film. Watch a moment in. Nelly in the right dress, made- up, and looking more. Nelly of the past. Is that a moment of recognition on his face? Awareness. of what he’s done?

No, it can’t be. He can’t be that person and she can’t be. She's a ghost, a reminder of what he's done and what the entire world lost in WWII. If we're lucky, a few times a year we get as complete a package as “Phoenix.”. We get character studies with performances as strong as Hoss and Zehrfeld are. It’s uncommon to see a film so balanced that it serves as a commentary. Berlin. And I expect it will be.