The dishonorably discharged Afghanistan veteran Thomas returns to his home village of Jerichow. Ali, a local Turkish-German businessman, owner of a snack-bar chain, hires him as a driver. That’s when Thomas meets Laura, his Turkish boss’s young and attractive wife. A classic love triangle is born, unfolding in desolate northeast Germany, where thick forests suddenly end on cliffs overlooking the Baltic Sea. Caught between guilt and freedom, between passion and reason, the protagonists have no hopes for fulfillment of their dreams. –Warsaw Film Festival
Christian Petzold was born September 14, 1960, in Hilden, as the oldest of three sons. He grew up in Haan, where he went to school and finished his high school degree in 1979. After finishing civil service, Christian Petzold went to Berlin in 1981 and started to study German studies and dramatics at Freie Universität Berlin. After his graduation in 1989, Petzold continued to study at Deutsche Film- und Fernsehakademie Berlin (dffb). During his studies, Christian Petzold worked as an assistant director for Hartmut Bitomsky and Harun Farocki – who contributed to all of Petzold’s later feature films – and worked as a film critic for several newspapers and magazines.
After several short films, including Süden and Das warme Geld, Petzold finished his graduation film for dffb, Pilotinnen, in 1994. The film production company Schramm Film Koerner & Weber participated in the production of Pilotinnen and Petzold continued to collaborate with the… read more
If only Ali had considered the economic implications of his employees' morale as carefully as he did the finer points of fuel economy, some of this would never have happened. Most of it still would have. A minor point. Jerichow is a handsome but redundant film. The changes it rings on Cain are insufficient to make the story compelling in a new, site-specific way, and its plot-driving passion is too pale a fire.
This is the first Petzold film to wrangle me out of my testament in defense of the prodigious auteur's consistency. Gone is the brooding, suggestive power that enveloped Petzold's characters in the vacuum of their non-existence. He once dexterously revivified the renegade tale with The State I Am In; as redux of another bromidic story, Jerichow just feels rigged, because Petzold inexplicably forgoes psychology.
The director of Barbara talks horror films, surveillance, shooting on 35mm, the sound of a room, the silence of a set.
Anyone looking for a running motif at this year's Berlinale didn't have to look far. Prisons. More to the point, men in prisons — or just
Something to be thankful for while they're still around: Magazines. Of course, in one form or another, there will likely always be magazine