Transit (2018)


Direction: Christian Petzold
Country: Germany / France

German filmmaker Christian Petzold (Barbara; Phoenix) shows a predisposition to structure his dramas in a ravishing, oblique way. His latest effort, Transit, is set in the port city of Marseille during the Nazi invasion.

The central character is Georg (Franz Rogowski), a German Jew on the run, who finds a viable way to flee the country without arousing the suspicion of the authorities. He is in possession of a document issued by the Mexican consulate to another man that can guarantee him a transit visa. In truth, he stole the identity of that man, Weidel, a celebrated poet who didn’t resist the Nazi pressure and committed suicide in Paris. Weidel’s charming wife, Marie (Paula Beer), is also stuck in Marseille, waiting anxiously for him, so they can depart to Mexico, the much desired safe harbor.

In the meantime, and before meeting Marie in strange circumstances, Georg visits the wife and son of a comrade who succumbed to the manhunt. The woman, Melissa (Maryam Zaree), is mute and was born in the Maghreb; her sweet kid, Driss (Lilien Batman), loves to play soccer, forging a strong bond with Georg, whom he gladly adopts as a father figure. Both are illegal refugees in the country, which becomes a terrible inconvenience when Driss gets sick. Opportunely, Georg offers himself to find doctor Richard (Godehard Giese), who is having an affair with Marie but is planning to leave her soon to embrace a bigger medical cause in Europe. Marie is visibly confused. She wants her husband so badly that, for a couple of times, she had mistaken him for Georg, the man who strategized about saving himself by impersonating him. However, Georg decides to alter his plans after falling for her.


Georg can thank his lucky stars because in some cases, despair leads gradually to tragedy, especially if you are stranded and hopeless. In different situations, tragedies just come with fate. Ironically, “Road to Nowhere” by The Talking Heads plays during the final credits.

The extraordinary performances magnify the complexity of the characters, surrounding them with empathy. Still, you will find emotional pain in every each of them. It’s outstanding how quietly the director gets close to these people.

The plot, adapted by Petzold from Anna Seghers’ WW2 novel to fit the present-day, can be challenging sometimes, but the articulation of the scenes and that pleasurable ambiguity in the narrative turn the film into an interesting watching. Don’t expect many thrills, though, since the director is more interested in offering a wide tonal palette of emotional reflections than really shocking us directly through the images.