Beginning in 2015, following the (by all accounts exhausting) production of Phoenix, Christian Petzold returned to television, where he began his career in the…
2018’s Transit followed two period pieces, each set in a specific era highly important to director Christian Petzold: Barbara, which unfolds in East Germany…
Any discussion of Phoenix almost begs to begin with the ending. One of the greatest mic-drop endings in all but the most literal sense,…
In retrospect, it almost seems odd that Christian Petzold’s international breakthrough effectively came with Barbara. Though it was his first period film, dealing with…
Each installment of the Dreileben trilogy — directed by Christian Petzold, Dominik Graf, and Christoph Hochhäusler, respectively — tells what the filmmakers have described…
Jerichow isn’t really an adaptation of The Postman Always Rings Twice, at least not any more than Transit is an adaptation of Casablanca or…
The liminal sensibilities of Christian Petzold’s films accord their material spaces an air of contradiction: the gleaming surfaces of steel walls and glass doors…
Over the course of his decades-long career, Christian Petzold has come to shape something like a cinema of failure; potently and precisely carving itself…
Christian Petzold is a serious, even formidable cinephile, but that shouldn’t be confused for humorlessness. His referentiality is streamlined and polite, endearingly obvious, but…
Following his breakthrough film, The State I Am In, Christian Petzold returned to smaller-scale television production for his next project, 2001’s Something to Remind…
The State I Am In, Christian Petzold’s theatrical feature debut, begins with a song. Opening on a profile shot of its central character, Jeanne…
Even before his international recognition as one of Germany’s leading filmmakers, Christian Petzold was already cultivating and mastering his thematic and stylistic preoccupations. Bearing…