Conflict's emotional fallout: The portrayal of anger and affection in "Mirror No. 3"
In the latest film by director Christian Petzold, "Miroirs No. 3," the narrative unfolds as a mysterious journey. The story revolves around the protagonist, Laura, played by Paula Beer, who believes she is responsible for her friend's death somewhere in Brandenburg.
Laura finds refuge in a country house far from town, with an unknown woman named Betty. Betty, who appears to be in her 60s, resides in a run-down yet handsome house. Her portrayal, done with silence, gazes that go into the void, and a usually forced-looking cheerfulness, is masterfully executed by Barbara Auer.
The film initially builds a light crime thriller tension, but Petzold soon shifts the focus to exploring the wounded souls of his characters. Feelings like anger and tenderness are portrayed as a unity, and the film resists predetermined paths, showing that resisting them can be very painful, as shown by Betty's frequent escapes from life, especially from herself.
Each woman in the film must take control to survive. The necessity of talking to each other and listening is emphasized as the essential foundation of coexistence. The title, "Miroirs No. 3," refers to a piece of piano music by Maurice Ravel, "Miroirs."
The specific piece mentioned in the film, "A Boat on the Ocean," will be played by Laura in the film. As the story progresses, Laura gradually finds peace, but the harmony between the two women seems fragile. It remains open whether Betty will ever find contentment in her own happiness.
The finale of the film maintains a realistic tone despite its fairy-tale beauty. The film suggests that Laura and Betty are like lost ships drifting in the ocean of fate. Petzold, who is also the writer of the film's script, masterfully weaves these themes together, creating a compelling narrative that resonates with audiences.
"Miroirs No. 3," newly released in cinemas in Berlin, is a must-watch for those who appreciate thought-provoking films that delve into the human condition. The performances by Paula Beer and Barbara Auer are exceptional, making them ideal for Petzold's intentions in the film.
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