Not much to add to my pretty much unqualified adoration of this. "Casablanca" really is the ultimate political dream-space of cinema and probably the only existing vision of Europe I feel I could make my own. Favorite (and truly surprising) shot this time: the one in which a rectangular frame lights up next to Ingrid Bergman (at the beginning of her last night with Bogart, I believe), introducing for a short moment the kind of modernist, abstract imagery the film…
This is so dull and witless - every attempt at a joke that tries to move beyond "nazis are evil but also stupid" falls completely flat - that it took me some time to realize just how terrible it is even beyond its unappealing surface. Turning Hitler into a clown is in itself no reason for moral outrage. But installing Hitler as a dematerialized, ahistoric metacinematic gadget while at the same time positioning Elsa as the bearer of historical truth,…
Resisting the libidinous pull of history. Doubling down on both madcap romanticism and the discursive underpinnings of melodrama, UNDINE probably won't find quite as many fans as PHOENIX and TRANSIT, but might be the most daring Petzold film yet. Or at the very least the most Petzold. Paula Beer rules.
Plus there's a wonderful love-on-first-sight-as-slapstick scene, like in THE LONG GREY LINE and THE BIG PARADE.