Christian Petzold’s ‘Miroirs No. 3’ Is Like a Gothic Fairytale Set in the American Mid-West

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In the upcoming premier of “Miroirs No. 3” by Christian Petzold, taking place this Saturday in Directors’ Fortnight, the story is based in contemporary Germany but carries an eerie, gothic-like feel that seems to transport us to the vast landscapes of America’s Midwest heartland.

The movie opens with Paula Beer’s character, Laura, struggling with an unspecified mental issue. Despite her reservations, she embarks on a road trip with her boyfriend. Following a strange accident that claims his life, Laura is cared for by Betty, a compassionate woman portrayed by Barbara Auer, who resides close to the crash location.

The movie unfolds with a storybook quality, reminiscent of Grimm fairy tales, as Petzold explains to EbMaster. Betty is depicted as a character resembling a witch, much like the woman in “Hansel and Gretel.” She resides solitarily on the outskirts of town, where she harvests healing herbs from her garden, and is regarded with apprehension by the townsfolk. Prior to the car accident, Laura witnesses Betty standing at the entrance of her home, and it seems as though the crash was somehow provoked by her presence, suggesting that it might have been a consequence of a spell or a curse.

I soon come to realize that Betty, much like myself, carries a heavy heart. Her marriage to Richard, played skillfully by Matthias Brandt, has reached its end, leaving her alone. Their grown son, Max, portrayed by Enno Trebs, is also absent from her life. A sense of foreboding suggests that she harbors a secret shrouded in darkness.

In Petzold’s view, the crash represents a renewal, and Betty nurtures Laura much like a mother would. She shares a story by Mark Twain with her, attends to her injuries, and even feeds her. Eventually, Laura embarks on her initial journey into the world – she learns to ride a bike, and exuberantly dances with Max to the rhythm of music.

In this captivating cinematic journey, Petzold weaves a compelling narrative around restoration and renewal. As the story unfolds, characters like Betty, Laura, and Max are seen mending their surroundings – from painting picket fences to fixing appliances. Paralleling this physical restoration, the characters’ own lives undergo a heartfelt healing process.

This sense of unity and mutual support between them culminates in a poignant scene where Laura prepares a meal for everyone, symbolizing their long-awaited reunion as a family. Sitting together to share this meal after many years apart is a powerful testament to the film’s central theme of restoration – both physical and emotional.

Petzold reveals that the idea for his film was sparked by a line in a letter penned by Heinrich von Kleist back in 1800. This thought occurred to him during the production of his previous film, “Afire,” featuring Beer, Trebs, and Brandt. As Kleist walked through the city gate in Würzburg, he mused: “I wondered why the arch didn’t crumble, as it seems unsupported. It stands, I replied, because all the stones are on the verge of collapsing simultaneously.

In the production of “Afire,” Petzold explained to the actors: “Alright, for our next project, we’ll focus on a collection of individuals who are all experiencing a fall, and as they’re all falling, they come together to construct a room, and that room will be our film. That’s the concept, it originated there.” Through their collective resilience and interactions, these troubled characters can heal from past wounds and find a path towards personal growth and recovery.

Although the narrative possesses a Germanic fairy tale ambiance, the setting and Betty’s home give off an atmosphere reminiscent of the American Midwest during the 1950s and 60s. The house is surrounded by a veranda, implying that its inhabitant eagerly observes the world, as Petzold notes, and enclosed by a white picket fence, much like the house in David Lynch’s “Blue Velvet.” The boyfriend’s vehicle is an American-style convertible, while Richard drives a pickup truck. Moreover, the tune Laura and Max dance to is authentically American from the past – “The Night” by Frankie Valli and the Four Seasons.

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2025-05-17 08:18