REVIEW: “Miroirs No. 3” (2026)

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German director Christian Petzold is one of my favorite filmmakers working today. He’s consistently produced excellent work since beginning his career in 2000, with a string of eleven films. He really hit his stride with 2012’s “Barbara,” and followed it up with outstanding movies like “Phoenix,” “Transit,” “Undine,” and “Afire.” His newest film, “Miroirs No. 3,” continues this impressive, subtly captivating trend.

As a big fan of Christian Petzold, I’ve come to expect a certain magic from his films. He has this incredible ability to tell stories that feel completely real, almost documentary-like, but then layer in these classic movie tropes in a really clever way. “Miroirs No. 3” is no different – it’s another deeply moving and surprisingly ambiguous film with a lot going on beneath the surface. Usually, his movies have a strong political message, but this time around, he’s focused on a family drama, and he handles it with that same precise, no-fuss style he’s known for.

Paula Beer’s performance is the heart of this film. She’s both fascinating and mysterious, and perfectly suited to the way director Petzold tells stories. This is their fourth project together, and although it might not be as grand as some of their previous films, they still create that special, captivating connection audiences have come to expect from their collaborations.

Laura, a piano student from Berlin, is swept up in a weekend trip with her musician boyfriend, Jakob (Philip Froissant), who is trying to make a good impression on a music producer. Their getaway takes a tragic turn when they’re involved in a car accident on a deserted country road. Jakob dies, and a confused Laura is discovered by Betty (Barbara Auer), an older woman who saw what happened.

Betty walked Laura home and then called the police. Although paramedics checked Laura, she didn’t want to go to the hospital. Surprisingly, she asked if she could stay with Betty, and Betty agreed. This sets the stage for an odd situation, as both women seem lost and disconnected. However, the story focuses more on what’s happening in Betty’s life.

From the beginning, the film drops hints about what’s happening, giving us a good idea of the story before the main events unfold. We see this in details like the rundown condition of Betty’s house, her protective relationship with Laura, and the curious glances they receive from people in the neighborhood. However, the key to understanding the mystery truly comes with the introduction of Betty’s son, Richard, and her troubled adult son, Max.

I don’t want to give away any spoilers, but the film begins as an intriguing mystery and evolves into a moving story about loss, recovery, and the importance of human relationships. This approach suits director Petzold’s simple yet insightful style. Like his previous work, the film is open to interpretation, though the ending might not fully satisfy everyone. However, Petzold isn’t concerned with providing easy answers; he’s focused on exploring the complex emotional experiences of his characters. And Paula Beer is the perfect actress to lead us through that journey.

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2026-03-24 17:57