Director: Christian Petzold.
Cast: Nina Hoss, Ronald Zehrfeld, Nina Kunzendorf.
Certificate: 12A
Running Time: 98 minutes
Synopsis: After going through facial reconstructive surgery due to injuries inflicted by the Nazis, Nelly Lenz (Hoss) returns home to discover her husband (Zehrfeld) no longer recognises her. Believing Nelly to be dead, he unwittingly hires the real Nelly in a plot to receive her savings.
PHOENIX has been swamped with comparisons to the work of Hitchcock. It’s an incredibly apt comparison, but in no way should detract from the genuine class and sophistication of this magnificent thriller. The first notable piece of excellence is Petzold’s ability to ignore logic in favour of great storytelling. Many will raise the question as to how Johnny (Zehrfeld) can’t recognise his wife, but it isn’t important. Petzold suspends our disbelief by hitting hearts hard, and offering an intense emotional ride.
The period setting is brought to life wonderfully, and the noirish feel harkens back to the classics of old. Every shot is constructed with a beautiful attention to lighting that feels nostalgic, but without ever feeling dated or too concerned with getting the atmosphere right. It’s a dramatic atmosphere that flows through every intricate moment in a script that relishes the gradual slow build.
Romance is a very tricky thing to perfectly capture on screen; with so many nuances and complications along the way, but Hoss’ unforgettable performance is romance personified. Her trust and love is what powers her through, but as a strong female she is never naive or stupid. She runs with her husband’s plot out of curiosity, to really test their bond, but to also relieve her suspicions that it was he who betrayed her to the Nazis. It’s a tragic mystery that never presses it foot on the acceleration, but instead lets gradually transports us to the heart wrenching and breathtaking final moments; a climax that is just as soft, subtle, yet powerful as the rest of the film.
Treading through the themes of guilt, frustration, and identity, PHOENIX is a rich and layered film that fully confronts its characters. No need to detail that this isn’t exactly the most enjoyable feature around – from the moment Nelly and Johnny reunite there’s a constant sadness which echoes the likes of Hitchcock’s NOTORIOUS or Ang Lee’s LUST CAUTION, but unlike those films the undercover element is for the female protagonist’s own peace of mind and gratification, rather than being used as a pawn.
PHOENIX is a strong collaboration of expert writing, unrivalled tension, and shattering performances. Hoss and Zehrfeld capture both disconnect and absolute love, meaning the motives are always in question, and as Nelly begins to become jealous of herself, we see a way in which war brings out the worst in people away from the battlefield. PHOENIX is an instant classic which echoes films of Hollywood’s golden era. Strong performances and precise pacing combine in a tragic and emotionally exhausting romance of the highest calibre.
PHOENIX is released in cinemas on 8th May.
