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Transit 2018
Description: In an attempt to flee Nazi-occupied France, Georg assumes the identity of a dead creator but later finds himself stuck in Marseilles, where he falls in love with Maria, a young girl searching for her missing husband.
Released: 01 Mar 2019 Director: Christian Petzold Writers: Christian Petzold (adaptation), Anna Seghers (novel) Actors: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman Genres: Drama
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Transit Similar Movies

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Transit Reviews:

Transit is based on a 1944 novel by Anna Seghers, in turn based on her experiences as a German Jewish Communist political refugee in Marseilles trying to receive out of Vichy France to Mexico. The protagonist is a German illegally in France, who travels from Paris to Marseilles, through possibility assumes the identity of a dead German leftist writer who has an exit visa to Mexico, and finds himself involved with both the writer's estranged wife and the wife and son of a fellow German illegal.What made the film work for me is that it is not a routine Globe Fight II vintage costume drama. Director-Writer Christian Petzold has selected to set the whole storyline in show day France. There are no Nazis, no swastikas, and no political explanations. There are only the omnipresent French police checking papers in the street, raiding hotels and apartments, and rounding up illegal aliens for deportation to an unnamed destination, assisted by nice French citizens either venal or patriotic, and the desperate struggle of the refugees to procure legitimate identity and travel documents in the face of bureaucratic indifference or hostility. It all feels like it should be event six months from now, there or, for that matter, here. The contemporary setting greatly increases the tension by taking away historical cues -- you have no concept how it is going to come out or whether the character will create his getaway to Mexico.


Refugees stories. Running away from persecution, hiding from the dangers of deportation, waiting for the visas that can save lives, boarding the ship that navigates to the promised shore of salvation - here are themes that resonate deeply for me, maybe also because of private and family stories that took zone no farther than one generation before us. Transit adapted by Christian Petzold from a novel by Anna Seghers set during the second globe fight and directed by him takes an original approach for this set of subjects. It's not a flawless film, but it impressed me in a very unique manner.The approach taken by script writer and director Christian Petzold is very original. The characters and narrative parts are taken from a novel by German writer Anna Seghers, a combination of stories about Jewish and German refugees running the spreading German occupation during the second globe fight in which fear, love and mistaken identities combine in a quite smart and interesting mix. The setting is however today's or maybe tomorrow's Paris and Marseille, with police vehicles and vans with sirens permanently howling and black-suited and helmeted armed policemen chasing the 'illegals' in the streets. There are some exceptions for this environment, as at some moments we seem to be in an atemporal French bistro or see the landscape of the old port of Marseille before the contemporary touristic change of face. The language used by the heroes is also a hybrid in which literary dialogs in German mix with references to the football clubs in the 21st century Champions League. The superposition is almost didactic, but it somehow works, as the storyline of the love triangle (or maybe a pyramid in this case) folds on the background of the lives of the universal refugees. Some speak German, some Arabic or African languages, all are running away from the eternal police of oppression.As many love stories in time of fight the intrigue here is built of intense feelings doubled by fear, shades, hidden identities. It develops slowly but the perfect acting of Franz Rogowski and Paula Beer bring on screen a entire globe of passion and ambiguities, of despair and impossible dreams. The secondary thread that connects the fate of the German refugees with the one of the 'local' migrants is also described in a discrete manner, avoiding the traps of melodrama. The only major flaw is the test of off-screen voice, probably reading text from the original novel that inspired the film. It is probably intended to remind us the reference work and the period when its storyline takes place. I search that voice over seldom works well in films and this is not the situation here. Transit says a very necessary storyline and its production incorporates nice acting and many bright ideas. It would have been better if director Christian Petzold trusted more his viewers and made some of the features of execution more discrete and less explicit.


Throughout this film I would search myself engrossed in the realistic emotional turmoil that the characters were going though. I loved that even though it was implied, they also never specifically told that it was a nazi regime and left the looming threat unnamed. The trouble is found in the director or screenwriter's inability to believe the actors to present subtle emotion and for the audience to pick up on that emotion without it being spoon fed to us. I consistently found myself feeling for the characters in these tense emotional moment only for that feeling to be fully destroyed with annoyance at the narration that would begin to dictate exactly what had just happened and what was currently event on screen. Instead of fully spelling out what the audience was supposed to be feeling, the movie would have been better off allowing it's audience to sit through those moments of silence and soundtrack to contemplate on the happenings being shown to us.



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