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The movie is a 2017 Australian psychological thriller drama film directed by Cate Shortland, and written by Shaun Grant, based upon the novel of the same name by Melanie Joosten. The film tells about a young photographer Claire, going to Germany, where she meets an attractive guy Andi. Waking up after a stormy night of passion, Claire realizes that Andy locked her in the apartment and is not going to let her go.
Starring Teresa Palmer and Max Riemelt, it had its world premiere at the Sundance Film Festival on 20 January 2017 and was released in Australia on 20 April 2017, by Entertainment One.
Berlin Syndrome 2017 Online Sa Prevodom / Plot
Clare (Teresa Palmer), a young Australian tourist, is backpacking around Germany. Taking photographs of architecture and exploring shops. In Berlin, she meets a local man named Andi (Max Riemelt) and has a one-night stand with him. The next morning, however, she finds that he has locked her in his apartment. She believes him when he says he accidentally forgot to leave her a key. And she stays with him another night. Soon, however, Clare realises Andi has no intention of ever letting her go. And that he has written the word meine (mine) on her shoulder and stolen her SIM card from her phone.
She tries to escape by smashing the windows but discovers they are double paned. To her amazement, when Andi comes home, he acts like nothing is wrong, offering her flowers and pesto. She screams and attacks him but he physically restrains her, then keeps her tied up. Australian director Cate Shortland brought a piercing female gaze both to the jailbait protagonist. Of her lyrical first feature, Somersault, and the conflicted teenage Nazi offspring. At the center of her German-language follow-up, Lore.
But audiences looking for the illuminating perspective of an intelligent woman director on the kind of sexual-captivity scenario. That dates back to The Collector might come away disappointed from Berlin Syndrome. Driven by a compellingly internalized performance from Teresa Palmer as the conflicted prey. This is a case of expert filmmaking craft applied to a familiar story. That becomes unrelentingly grim and drawn out after its masterful setup. Adapted from the novel by Melanie Joosten, the script is by Shaun Grant. Whose flair for violently squirmy drama with abduction elements. Was evident in his screenplay for Justin Kurzel's The Snowtown Murders.
Berlin Syndrome 2017 Online Sa Prevodom/ Plot 2
Shortland is more interested in the psychological nuances, and as the title suggests, the warring impulses of a captive woman terrified but confused by the closeness that develops with her jailer. This is a tricky emotional knot to put onscreen, and a Sundance entry from two years back, Stockholm, Pennsylvania, bungled it with a schematic script that didn't hold water. That film had more in common with Room, focusing on the after-effects of abduction and prolonged confinement more than the captivity itself.
Palmer suggests a slightly lost young woman looking for new directions in the intriguing early scenes, when backpacker Clare arrives in the German city to photograph the severe architecture of the former East Berlin for a planned book project. She shares a joint and a drink with fellow guests on the roof of the youth hostel where she's staying, but is otherwise very much alone. That makes her receptive to the flirty conversation of schoolteacher Andi (Max Riemelt) at a traffic light. He seems mellow and warm as he shows her through the garden where his father grows strawberries. Despite their obvious mutual attraction, they say a chaste goodnight and she plans to leave for Dresden the next morning.
But Clare is compelled to stay and seek out Andi, finding him in a bookstore perusing a volume on Klimt. Her observation on the way the subject in the artist's famed Portrait of Adele Bloch-Bauer is holding her hand to hide her deformity will come back to haunt her when her own hand is viciously mangled days later. Shortland handles the foreshadowing skillfully, not just with an assist from composer Bryony Marks’ unsettling electronic score, but in moments like the couple's rapturous first sexual experience together in the otherwise abandoned apartment block where Andi lives.
Encouraging her moans of pleasure, he says with ominous undertones, “No one will hear you.” From the start, it's clear this will not be a fine romance, a threat amplified in the insidious framing of Germain McMicking's moody widescreen visuals, whether capturing buildings, spaces or bodies. When Clare finds herself locked in Andi's apartment while he goes to work, she at first buys his excuse of a mixup with the keys. But by day two, alarming evidence reveals that he intends to keep her there, behind the reinforced windows and heavy security doors in an isolated neighborhood with no passing foot traffic.
With chilling calm, he blames her for choosing to stay rather than leave for Dresden, and there's a part of Clare that possibly concedes she was subconsciously seeking danger. Andi's creepy attitudes about women are suggested by exchanges with students and fellow teachers, and by what he perceives as his mother's betrayal for leaving his elderly father (Matthias Habich). That cold composure gives Riemelt (Sense8) too few layers to uncover in what's largely a one-dimensional characterization.
Once all the pieces are in place, much of the tautness and mystery of the movie's gripping first half begins to fall away. Following the action becomes increasingly thankless as Clare works through all her options, from reasoning to attempted escape to playing along with Andi's charade of normal cohabitation, even encouraging his twisted notions of ownership. As good as Palmer is (giving off a distinct Kristen Stewart vibe here, which makes one think of the Panic Room kid, all grown up), the thriller becomes predictable and over-extended.
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