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‘Miroirs No. 3’ Review: Christian Petzold and Paula Beer Team Up Once More for an Elegant Sliver of a Psychodrama
A shellshocked car crash survivor moves in with her rescuer, with increasingly destabilizing consequences, in the Christian Petzold's 'Miroirs No. 3.'
A Christian Petzold summer has a particular climate: drily hot enough to parch the grass in the flat German countryside, but with a looming threat of harder, heavier weather, plus a baseline chill inside his characters that ensures they never quite thaw under the beating sun. 3.” A humid little psychological drama of displacement, replacement and fresh plum cake, in which balmy days mix with unhealed trauma to briefly make precarious new lives and identities possible, this 86-minute puzzle piece isn’t one of the director’s major works, but is distinguished by his trademark pleasures of texture and tone — and pushes his ongoing collaboration with star Paula Beer into ever more enigmatic territory. Painting in bleached neutrals and sunburnt primary colors, the director’s regular DP Hans Fromm maintains an air of wilted stillness suffused with a rash of anxiety, with camera movements that turn from serene to predatory as the mood of a scene tilts.
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