De l'autre côté du mur

As it's name suggests, Christian Schwochow's 'West' is a film about the West, but also the East: specifically, about cold-war Germany. Its central protagonist, wonderfully played by the beautiful Joerdis Triebel, is a somewhat arrogant east German who, on crossing the iron curtain, struggles to cope with the demands made of an unconnected immigrant in a strange country; but who also struggles with the legacy of her past. The film neither glosses over the evils of the eastern regime, nor suggests that life in the west is a simple panacea; above all else, it demonstrates the fatal way that police states damage the institution of trust in a way that cannot easily be repaired. The ambiguous figure of a rumoured informer provides a focus for a powerful story that is ultimately more about people than systems.

A good movie about an interesting aspect of German history. Did you know about the existence of West German refugee transit camps during the period of cold war, which had the assignment of receiving and processing East German immigrants? Well, I did not. Dated in the 1970's, the movie allows us to follow a young mother and her son into the camp of Marienfelde in West Berlin after she managed to cross the border by means of a West German pretend husband.

There however, her high hopes for a better future in the West are confronted with a system of bureaucracy and distrust, since according to secret service any immigrant could as well be an East German spy. Nelly is especially suspicious for having been a member of the East German Academy of Sciences and for the father of her boy being a Russian who disappeared mysteriously.

Altogether, it is a coherent story with a good mix of characters. We get to know short term acquaintances like a Russian speaking girl who makes friend with Nelly's little boy Alexej. When leaving the camp with her family she also disappears from the story. This gives a good example of typical transit camp life where people come and go all the time.

It is also the camera work, which supports the feeling to be effectively part of the camp life. It often does so by showing the protagonists behind some fuzzy object in the foreground. The good acting also must not be disregarded. Next to award winning leading actress Jördis Triebel I would like to mention the flawless performance of Alexander Scheer, who gives the mysterious character of a former East German dissident, who seems to be stuck in the camp forever.

Memorable also the scene, in which Nelly seduces the American secret service officer into sex with her. When finding out in bed that all the humiliating interrogations about her Russian ex-boyfriend being a spy are only based on speculation, she turns the balance of power upside down and drops the guy. Good girl.

Some user comments suggest that the story may not be completely correct from a historical point of view. Oh well, I prefer to see the movie as a general metaphor about the clash of hopes and reservations, that immigrants have to face in their new homelands. Despite its indicated happy end, the movie clearly suggests that the outcome of this conflict is rather open.

I tried to like this film but could never get into it, the plot is unbelievable, at it rests on Nelly's character, that changes her mind and follows a logic of her own.

Art direction is good, and actors do what they can with a story full of clichés, from the sexy "damsel in distress" to the bullied son, the love affair that makes no sense and ends as abruptly as it started, the friend who is always there and is taken for granted, the cool and also pretty neighbour who plays Bach but is reduced to being a cook and mistreated at it, her father who is a bit nuts but not really dangerous so we have to like him too, the ugly STASI female doctors, dumb looking officials- funny looking clothing-, menacing everything for we are supposed to empathize with Nelly who is being driven crazy by the German bureaucratic system.

Sorry, it didn't work for me.

Some people left at the showing here in BA, and I do understand it. The ending was a monument for cheesiness.

The movie pretends to make us feel empathy x Nelly while using many Hollywood tricks like "mom-son having a good time", "Christmas making characters take the big decision", "overqualified Eastern Germans being reduced to menial jobs because of ...?", and the list could go on. Maybe I expected a good European film but got an average TV movie that looks like those manufactured for Hallmark channel and the like, only this was spoken in German.

I do hope other people can see nicer things in this film, I sincerely couldn't. I wouldn't watch it.

A document of a time passed by. And while I don't think this feels to dated (if you let yourself into the mood and time when the movie playing), you will like what you see. It's a story about people trying to survive, while being confronted by politics and paranoia. It isn't (or rather wasn't easy) to live like this. Even harder to survive when you try to stay in the middle.

While some might argue that this feels like a movie of the week type, I'd disagree. It might have a story line that is close to that, but the acting and the framing, lighting and everything else point out that this is more than that. If you like your drama to feel as real as possible (with touches of a thriller), here you go

A woman escapes East Germany with her child.

Starring Jordis Triebel, Tristan Gobel and Alexander Scheer.

Written by Heide Schwochow (screenplay) and Julia Franck (Novel).

Directed by Christian Schwochow.

I seem to be on a bit of a run of late for watching foreign subtitled films.

This German movie is left of centre, quirky and quite well acted. It's also a good insight into how things were on either side of the Berlin wall post war. It just about kept my interest although it lacks a little excitement. There's not a lot of suspense and it didn't exactly have me on the edge of my seat.

It's interesting but easily forgettable. Not exactly a yawn fest but lacked any real entertainment value.

7/10