Transit (2019)

While watching The Chilling Tales of Sabrina dance around coven patriarchal fascism, trying to comprehend the emotional impact and cultural mirroring in Christian Petzold’s Transit is becoming increasingly distracting.  Taking an adaptation of Anna Seghers’ 1942 story of a man escaping Nazi occupied France by posing as a secretly deceased author and meeting the author’s widow, Petzold placed the story in modern day without explaining a thing. Franz Rogowski as Georg flees repeated attacks by militarized police and national loyalists turning him in during raids until he finds himself in bureaucratic limbo expecting to be discovered at every turn. When Paula Beer (Never Look Away, Frantz) becomes entangled in his impersonation, a tenuous mistaken love triangle (or square, or whatever it is, it’s very European) that complicates the limited opportunities to flee before impending doom routes the targeted citizens to drastic measures. It was hard to decipher the time or the narrator and the chaos of it all keeps you wheeling, but I found myself enthralled with its commentary on modern fascist uprising and the somewhat baffling, terrifying way it felt so natural. Petzold sees history repeating itself, and that juxtaposition is brilliant


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