NYFF 2020: Undine
NYFF 2020Christian Petzold's Undine is a mixture between the romanticisation of genre in The Shape of Water and the provocation of About Endlessness with a slow, brooding poetry of emotional weight in a German twist.
In a similar vein to Maren Ade's Toni Erdmann, Undine is an incredibly dry feature both in regards to its visual but also verbal conviction. Nevertheless, both films have a tremendous sensibility in their dynamic content and thematic significance. Petzold's Undine is a fairytale hidden behind a wall of the ordinary. For what is conveyed as a quintessential brooding drama soon turns its head into a far deeper engaging, profound and haunting feature –– with stunning results.
Helped on by the two central performances, actor and actress Franz Rogowski and Paula Beer –– re-teaming with director Petzold –– take hold of this material and in its coldness open up a portrayal of energetic and impassioned love. Their dynamic together, while it feels somewhat rushed within the tight ninety minutes running time, is undeniably compelling. Their nuance of intimacy is intoxicating with every single touch between the two an integral and passionate connection. The lust and desire shared between the two stores for an exceptionally emotive experience.
The screenplay is equally as helpful the two. Petzold decides less is more and here, such a decision is wonderfully implemented. Aforementioned, due to the dazzling connection between the two leads, there is not a need to overly complicate or verbally concede emotional value. That being said, Petzold does involve a specific enigmatic flavour to the feature that elevates this material at hand. It works incredibly well in its subtleness, even adding a layer of substance to the fairytale type plot in a deeper and richer enigmatic flair.
The loudest claim against Undine is that Petzold's film is cold, and to that degree, it will be decided on the relationship of the audience with German cinema. Nevertheless, Undine is a brooding and intoxicating portrait of love wrapped in a hidden dwelling of a fairytale romance. Superbly shot by cinematographer Hans Fromm and utilised in a 1.85:1 aspect ratio, it is a combination that engulfs the audience visually in such a fashion that the film begins to bleed into reality. Ultimately crafting not only a soothing and poignant picture with two sensational performances but a fabulous showcase from writer/director Petzold, who is excels with any and all genres.
