Review: ‘Undine’ (2020), starring Paula Beer and Franz Rogowski

July 4, 2021

by Carla Hay

Paula Beer in “Undine” (Photo courtesy of IFC Films)

“Undine” (2020)

Directed by Christian Petzold

German with subtitles

Culture Representation: Taking place in Berlin, the dramatic film “Undine” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: A water sprite in human form is conflicted between two human lovers and how these romances will affect whether she will live happily ever after or if she will be doomed to a life that she doesn’t want.

Culture Audience: “Undine” will appeal primarily to people who are interested in artsy European films that are contemporary interpretations of fairy tales.

Franz Rogowski and Paula Beer in “Undine” (Photo courtesy of IFC Films)

Based on the fairy tale about a water sprite who takes on the form of a human, the dramatic film “Undine” unfolds like a fever dream rather than straightforward story. The movie’s visuals and acting are compelling, but might not be enough to hold the interest of people who aren’t already familiar with the Undine mythology. It’s a movie that requires patience and curiosity to see how everything is going to end, because the heroine of the story wants to defy her fate.

Written and directed by Christian Petzold, “Undine” takes place in Berlin and has some bold-risk-taking in this often-abstract version of the Undine fairytale. This movie’s title character is Undine Wibeau (played by Paula Beer), a historian who works at the Senate for Urban Development and Housing, where she gives guided tours to visitors. Much of her guided tours involves showing model replicas of what Berlin and plans fo the city’s development. Undine looks like a woman who’s in her 20s, but she’s really a water sprite who has this curse of having to kill any man who becomes her lover and betrays her.

The beginning of the movie is the break-up scene that sets in motion what follows for the rest of the story. At a cafe table directly outside the building where Undine works, she is having lunch with her soon-to-be-ex-boyfriend Johannes (played by Jacob Matschenz), who is trying to let her down easily as he ends the relationship. It’s later revealed in the story that Johannes is already romantically involved with someone else named Nora (played by Julia Franz Richter), and he doesn’t want to leave Nora to be with Undine.

As Johannes leaves the table to gets some coffee, Undine starts crying but quickly wipes away he tears when Johannes comes back to the table. She tells him ominously, “You said you love me forever. If you leave, I have to kill you. If you leave here, you have to die.”

Undine says that she has to go back to work because that she will return to the table in half and hour when she’s on her break. She tells Johannes that she expects him to be at the table when she gets back. And when she sees him again, Undine tells Johannes that he better declare his love for her. She even looks out of the building window to check and see if Johannes is still there.

If would be incorrect to assume that “Undine” is going to turn into a “Fatal Attraction” type of movie, with Undine as the jilted lover who spends most of the story stalking the man who dumped her. Instead, this artfully directed but quirky film goes in an entirely different direction. Shortly after this break-up with Johannes, Undine meets another man who becomes her next love. His name is Christoff (played by Franz Rogowski), an industrial diver with an introverted personality.

Whereas Johannes was cold and standoffish, Christoff is warm and romantic. After one of Undine’s guided tours, which had Christoff in the tour group, Christoff shyly approaches Undine, flatters her about her tour guide skills, and asks her out on a date. Undine is so distracted over her problems with Johannes that she just stares at Christoff and doesn’t give an answer.

Christoff nervously backs into a shelf, which causes the other furniture in the room to vibrate. This movement has a domino effect that ends with a very large aquarium in the room tipping over and smashing completely. The force of the water crashes over Christoff and Undine, who are both knocked to the ground.

It’s an awkward way to start a relationship, but somehow this bizarre accident quickly bonds Christoff and Undine together. They have a passionate romance, which includes their shared love of diving underwater. During one of their diving dates, Christoff demonstrates a romantic gesture by showing Undine a brick wall that has her name on it.

Christoff begins to suspect that there’s something unusual about Undine during this diving date, when she briefly disappears underwater. When Christoff sees Undine a minute or two later, she’s holding on to a dolphin, but she isn’t wearing her scuba gear. Undine suddenly passes out from lack of oxygen.

Christoff rescues Undine and gives her cardiopulmonary resuscitation (CPR), while chanting the chorus to the Bee Gees’ “Staying Alive.” (It’s one of the movie’s many quirks.) Undine makes a quick recovery and asks Christoff to do mouth-to-mouth resuscitation on her again. He’s reluctant to do so because he’s afraid someone might see them and think she’s really in distress. Christoff tells Undine that he can grant her wish when they get home.

“Undine” is filled with scenes like that, where not everything fits in a cohesive manner, but the the details of movie are presented like a jigsaw puzzle that viewers are expected to piece together on their own. Johannes isn’t completely out of the picture. There’s a pivotal scene on a bridge where Christoff and Undine are embracing each other as they walk past another couple, who are walking in the opposite direction.

The other couple are Johannes and Nora. Undine stares at Johannes, Christoff notices, and Christoff expresses some insecurity that Undine’s heart started to beat faster when she looked at the other man. Undine won’t tell Christoff about Johannes or her history with him, but this encounter plants some seeds of jealousy in Christoff. Meanwhile, Christoff has a co-worker named Monika (played by Maryam Zaree) who might have more than platonic feelings for Christoff.

Cinematically, “Undine” is a gorgeous and sometimes haunting film to watch. However, it’s not the type of movie that will be enjoyed by people who want to see more conventional ways of telling a love story. The movie’s greatest strengths are in how it presents thought-provoking themes about destiny versus free will, as well as forgiveness versus revenge, and how these themes fit into the overall concept of pursuing love that makes someone happy. Petzold’s direction and the cast members’ acting achieve a tricky balance of bringing a realistic emotional tone to a fairy tale that’s been told many times but never before in this idiosyncratic and memorable way.

IFC Films released “Undine” in select U.S. cinemas, on digital and VOD on June 4, 2021. The movie was released in Germany and other countries in 2020.

2019 Tribeca Film Festival movie review: ‘A Regular Woman’

May 2, 2019

by Carla Hay

Almila Bagriacik (pictured at left) in “A Regular Woman” (Photo courtesy of VincentTV)

“A Regular Woman” (“Nur Eine Frau”)

Directed by Sherry Hormann

German and Turkish with subtitles

World premiere at the Tribeca Film Festival in New York City on April 27, 2019.

So-called “honor killings” are part of an extremely conservative Muslim culture that teaches that it’s acceptable to murder a family member who brings shame upon the family. This type of killing is usually committed by a male against a female, and it usually has to do with the female’s sexuality. The German film “A Regular Woman” is the dramatic, scripted version of the real-life “honor killing” of 23-year-old Hatun “Aynur” Sürücü, a Turkish-Kurdish woman who was murdered by one of her brothers in 2005 in Berlin.

In the movie, she’s played by Almila Bagriacik as a woman who’s truly a victim of her circumstances. At 16, Aynur was forced into a marriage to a cousin who physically and emotionally abused her. She has a son named Can with her husband, but when Aynur can no longer take the abuse, she leaves her husband and flees with Can to Germany, where they start a new life.

It’s revealed in the beginning of the film that Aynur is a murder victim. The crime scene is shown with her dead body covered, and Aynur (who’s supposed to be speaking as a dead person in another dimension) narrates the film in voiceovers and tells the audience that one of her brothers murdered her. The rest of the movie is a series of flashbacks showing the events leading up to the murder and its aftermath.

Even though Aynur begins her new life in Berlin, she can’t really escape from her large, meddling family. Three of her brothers—Nuri (played by Rauand Taleb), Tarik (played by Aram Arami) and Sinan (played by Mehmet Atesci)—are especially offended that Aynur has rejected a traditional life as a subservient Muslim wife, and they keep tabs on what she’s been doing in Berlin. When the brothers see that Aynur has stopped wearing a hijab and has begun wearing Western clothes such as jeans and T-shirts, they feel scandalized. Youngest brother Nuri is the one who is the angriest with Aynur, especially when she begins dating a German man named Tim (played by Jacob Matschenz). Aynur and Tim end up living together, and it isn’t long before Aynur’s brothers start harassing him.

Aynur has a slightly better relationship with her brother Aram (played by Armin Wahedi Yeganeh), whom she trusts the most, and sister Shirin (played by Merve Askoy), but all of her siblings are still influenced by their extreme religious beliefs, and they have varying levels of disapproval of Aynur’s new lifestyle. Aynur has a love/hate relationship with her family. Although she knows that they think she’s an immoral harlot, she can’t quite cut herself off from them. A part of her knows they will never approve of her new life, but a part of her is in denial and thinks that they might eventually accept it.

Meanwhile, Aynur has jumped from one male-dominated environment into another. She enrolls in school to become an electrician, and she’s the only female in her class. She eventually decides to move from Berlin to Freiburg, shortly after she turns 23. Because “A Regular Woman” reveals in the beginning of the film that Aynur is going to be murdered by one of her brothers, the movie sacrifices a lot of suspense that could have been experienced by people who don’t know what happened in real life. (Her murder was big news in Germany, but not well-known in many other countries.) Therefore, the first and second acts of the film are basically a countdown to the heinous crime.

What the movie doesn’t reveal until the third act is what happened to the murderer, who else knew about the crime before it happened, and who ended up being punished for it. “A Regular Woman” director Sherry Hormann does a capable job of telling Aynur’s story, while actress Bagriacik does a believable and sympathetic portrayal of a young woman trying to find her identity in the midst of this family turmoil.

This movie is not a judgment against the Muslim religion but an unflinching critique of anyone who devalues women’s lives or treats women as always inferior to men. Unfortunately, there are so many movies and TV shows being made about women who are murdered, that “A Regular Woman” might get lost in this over-saturation. What’s even more tragic is that these stories are all too often based on what happened in real life.

UPDATE: Corinth Films will release “A Regular Woman” in select U.S. virtual cinemas on June 26, 2020.

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