Ondine

... and that shape can be pretty much whatever you want it to be which, depending on your interpretation, might be as hot as a kettle or as cold as ice, a sinker or a floater, completely cloudy and obscure or gin crystal clear. Beautiful performances all round, elegantly performed, imaginative and, in my view, water worth testing, if for no other reason than to test yourself..

Very well played by the main cast, but not necessarily deserved Golden Bear for best actress. Nice underwater shots and a warm story about love, deception, hope and destiny. Not so much a must-see and not necessarily A-festival Competition material, but enjoyable to watch.

Loosely based on the 19th century novella of Friedrich de la Motte Fouque about an aquatic spirit who must marry a knight to gain a soul, but has to kill him if he is unfaithful, German director Christian Petzold's ("Transit") Undine weaves a tale that skirts the edges between romance and fantasy. Reuniting the stars of "Transit," Paula Beer ("Never Look Away"), winner of the Silver Bear Award at the Berlin Film Festival and Franz Rogowski ("A Hidden Life"), the film seems like a risky departure from the director's recent work about people caught in the traumatic events of contemporary European history, yet it propels his ideas about timelessness and the notion that the past is always present, even though the form may change.

Set in present-day Berlin, a city that was ironically founded on water, Undine, opens a door to the past with its repetition of the lovely Bach's adagio from his Concerto in D Minor. Beer is Undine, a free-lance historian and museum guide who lectures international groups on Berlin's Urban Development project located on Berlin's Museum Island, connecting the city's ties to its past. In particular, she talks about the city's Humboldt Forum project, a partial reconstruction of the demolished 18th century Berlin Palace, explaining that the castle was demolished during the Socialist era and is now being reconstructed.

Without prior knowledge of the fairy tale, which Petzold may assume we all know, Undine's nature is unclear. She looks and acts human, although there is strangeness about her silences and long, penetrating looks. According to the director, "she is a little bit like a ghost, like a phantom." Petzold does not reveal Undine's true nature but clues to her real self emerge when her aloofness and seemingly robotic manner begin to define her presence. In the opening scene, Undine sits outside a Berlin café with her boyfriend, Johannes (Jacob Matschenz, "A Regular Woman"). Johannes threatens to leave her for another woman but is reminded that if he leaves her, she will kill him. Only a half hour later, she runs into Christoph (Rogowski), an industrial diver who has a warm, outgoing personality and Johannes is temporarily forgotten.

After an aquarium tank explodes, they lie together on the floor in a pool of water, dead fish, and broken glass, staring into each other's eyes. As he picks pieces of glass from her blouse in a scene that is romantic, surreal, and comic, his caring gives her a sense of what it feels like to be loved. Of course, the irony here is that he works underwater, while she, a water spirit, lives and works on land. Though their romance is real, Petzold declared, "They were like two dancers who get very close, but like in tango, they still keep a certain distance, which shows the respect they have for each other."

The chemistry between them is strong, however, and their relationship can be enjoyed with or without knowledge of the story's mythological roots. Working underwater, after confronting a giant catfish ostensibly without fear, Christoph sees Undine's name displayed on an ancient arch deep beneath the surface and takes her diving on their first date to see her name. She momentarily disappears before floating to the surface, her diving apparatus stripped allowing Christof to further bond by resuscitating her. According to legend, if Undine returns to her roots, she must remain there. She is, however, a rule breaker who is not beholden to either legend or men.

Undine is challenging to unravel but in its essence, it is a tribute to the strength and independence of women or, as a recent popular song might put it, to "the power of love." As Petzold describes it, "Struggling against domination, Undine exists only through men. Then along comes a man, a proletarian, an industrial diver, who interferes with the curse. He is not suspicious; he's innocent and for the first time seems to see her primarily without any sexual desire and without wanting to dominate her. This is new for her, and a path to a new world seems possible."

The movie that made me fall in love with Berlin, which I went twice and couldn't love. A modern Romeo + Juliet story from the Germans. A visual and auditory feast.

A film with a unique spirit that breaks down the prejudices of "Germans can't make a love movie" and "German is not an emotional language".

Greetings again from the darkness. German filmmaker Christian Petzold has a track record of creating thought-provoking, intelligent, and ambitious films such as BARBARA (2012) and TRANSIT (2018). This time out he re-teams his TRANSIT co-stars Paula Beer and Franz Rogowski in a film that's more fable or fairy tale than conventional storytelling. If forced to label, we might go with Fantasy-Romance-Drama-Mystery, which really means the film doesn't easily fit into a known genre.

The film opens with a very uncomfortable break-up scene between Johannes (Jacob Matschentz) and Undine (Ms. Beer). When he says they are done, she responds, "If you leave me, I'll have to kill you. You know that." While researching the name Undine, I stumbled upon the 1811 German fairy tale of a water nymph Friedrich de la Motte Fouquet, which clearly inspired Petzold. The story has some similarities to "The Little Mermaid", itself a Danish fairy tale originally written by Hans Christian Anderson. It helps to know all of this upfront to prevent some of the frustration that goes with deciphering what is real and what is imagined.

As one would imagine, water is a recurring element throughout - beginning with Undine's chance and unusual café meet-cute with Christoph (Mr. Rogowski). The two find themselves attracted and connected after being drenched. Christoph is an industrial diver, so water is a part of his life ... as is 'Big Guenther', the legendary giant catfish he spots while on a job. Undine is a historian who holds sessions for tourists during which she recounts the architectural evolution and urban sprawl of Berlin over the past centuries, by utilizing scale models of the different eras. We also learn that "Berlin" means marsh, or a dry place in the marsh ... yet another water-related aspect.

Ms. Beer, who was so good in FRANTZ (2016) and NEVER LOOK AWAY (2018) continues her fine work, and reuniting with her TRANSIT co-star, Mr. Rogowski (VICTORIA, 2015) works out beautifully, as they have a nice rapport. Mr. Petzold's film has a supernatural element and is dreamlike at times, and though I've used the "fairy tale" description, it's clearly a very high concept film for grown-ups ... and there is enough humor ("Stayin' Alive by the Bee Gees) to offset the doomed relationships and Undine's return to her natural element. It's quite a trip for those who are up for it.

In theaters and On Demand June 4, 2021.