Labirinto de Mentiras

This is definitely one of the more powerful holocaust films. It doesn't have any visual images of the holocaust. It's about the aftermath. To bring the perpetrators on trial, the effects on a Germany (or West Germany) in total denial, of the children of the Nazi era and their latent guilt of what their parents may have done or did. One feels what it was to grow up German during this period of the late 1950's.

It's very emotional performance by Alexander Fehling. We feel his anguish as he learns the scale of his country's complicity of what happened – and his anger and frustration at the lies to circumvent it all. And this is told at the personal level – it is individuals whose lives were shattered and it is individuals who did the destroying.

Unique and impressive.

The English title "Labyrinth of Lies" should rather be a direct translation from the German title which is more among the lines "Labyrinth of Silence". And that's precisely what the main character is facing in his quest of uncovering the crimes Germany committed during WWII.

This film poses a not very often portrayed link in the chain of events during and following WWII. People in Germany are used to dealing openly with the crimes committed during WWII to the point where the time when it was not like that is barley remembered. It deals with the topic in a very non sensational way. Awful crimes are not portrayed too visually and yet the film manages to transmit the severity of those. It also explores the German people's psyche after the war and the motivation behind covering up what happened.

The cinematography is quite nice and the music fits the time and setting.

A downside to the film is its romantic relationship between the main character and his love interest. It was hard to connect to their relationship and to her. Her relevance for the story was not very clear as well. Also the screenplay felt off at times. Whenever a character had a monologue it was very catching and filled with emotions one could connect to. Unfortunately it failed in delivering meaningful conversations. They were most of the time superficial and felt stiff.

All in all it was a very interesting film with a relevant message but quite a few downsides in delivery. It feels like the big screen is a little too big for this film but it is quite a nice TV film and a good starter to get into post war history.

It's 1958 Frankfurt, West Germany. Johann Radmann is a young by-the-books prosecutor toiling in traffic court and believing his father to be anti-Nazi. Reporter Thomas Gnielka brings the case of Charles Schulz, a teacher suspected of being a Nazi guard in Auschwitz. Nobody cares about what happened there and actively ignores the collective Nazi past. He starts a relationship with Marlene Wondrak. Gnielka introduces him to camp survivor Simon Kirsch. Radmann starts digging into the past and building a case against many. His main obsession is camp doctor Josef Mengele who experimented on the prisoners.

The history is very compelling. However, the story lacks danger or intensity. It needs some additional drama. There is some professional and personal drama but none of it is that intense. The production and acting is first rate. It is a very compelling watch although there are no big surprises.

Based on the true story of a young Public Prosecutor from Frankfurt named Johann Radmann (Alexander Fehling – 'Inglorious Basterds'). He encounters a survivor of Auschwitz and a journalist who want to bring the perpetrators of the atrocities that took place there to trial. The problem is that Germany seems to not want to rake over the coals of the past and there are former Nazi's everywhere who just don't care.

What follows are the travails he and his friends go through in order to do something, try to build a case and wake the German people from their wilful apathy towards the war. We also have his personal life and that of those around him and who are swept up in the investigation.

This is an extremely well made film, the story is completely gripping and I loved the period detail too. It does not sugar coat what took place but is also not horrific in terms of the graphic abuse that sadly occurred, especially at the hands of Mengele and co. It is very moving in places and features some truly excellent performances especially Fehling and his love interest Friedrike Becht ('Hannah Arendt')who plays Marlene – it is in German with very good subtitles and runs for 123 minutes and is one that is very easy to recommend indeed.

Holocaust stories from Schindler's List (1993) to Son of Saul (2015) penetrate our emotional defences by dragging us right into the horror zone. In Labyrinth of Lies (2014) we are spared this entirely because the horror is of a different kind. The focus is on a nation in denial, desperate to block the collective memories of the generation responsible and prevent the following one from ever knowing. The historical timeframe depicted is critical to grasping the power of this story. Set in 1958 Germany, thirteen years after the war, the economy is booming but the nation's older generation struggle with guilt and anger while the young have not even heard of Auschwitz. Produced in Germany, this film is an illuminating piece of the historical puzzle and part of a nation's prolonged self-atonement.

The storyline is linear and uncomplicated. A journalist recognises a former Nazi commander of Auschwitz now working as a schoolteacher, but he cannot elicit any interest from public prosecutors. He befriends young lawyer Johann Radmann who processes parking fines but is desperate to take on serious cases. Despite ridicule from colleagues he is made lead investigator and gradually learns about the secret killing factories of Auschwitz. The labyrinth he encounters is one of silence and lies, as large numbers of public servants and others in positions of power were former members of the Nazi Party and many were morally complicit in Hitler's Final Solution. Along the way, he becomes the obsessive hunter as the investigation keeps getting bigger until it is all- consuming. A romantic sub-story is awkwardly woven into the plot both to humanise Radmann and show the destructive impact that the investigation has on his life. The filming and sets convey the period with authenticity, and the directing is tight although the script is heavy. It takes almost the entire film to expose the full-scale truth, and the results of the investigations are dealt with swiftly as a cinematic necessity.

No doubt some people watch Holocaust films for entertainment, but many more do so searching for understanding of this extraordinary period of history. Labyrinth of Lies is important because it fills the gap between war's end in 1945 and the world's slow awakening to what happened at Auschwitz. In particular, it explains how the truth was kept from young Germans oblivious to what their parents did in the war and shows powerful hands on the blanket of silence. Like Spotlight (2015), the story starts by looking at the tip of an iceberg that grew until it overwhelmed a nation and it maintains an engaging thriller quality to the end.