A work by Petzold, the new director of the Berlin 18 main competition "Berlin School", before Vindini. The tone is seductive, Paula Bell is seductive, and the narrative is complex, making it more attractive because of the threshold. There are two highlights in the whole article—the legacy of Duras' literary narrative and the transformation of time and space in the contemporary world of World War II. Let’s talk about Duras’ inheritance first, which is obviously not the original proposition of the “Berlin School”, but rather a forced choice made by Petzold when faced with difficult video texts. But he did a good job by accident, so there are pros and cons. In the narrative, it makes the narration text quick images and emotions come out first with a very innovative flavor, but the overly clear emotional overview still lacks the mysterious effect of the post-production Windini, which is not good. As for this location transformation, it now seems to be more of a satirical and reflective effect, and it belongs to the normal range of the "Berlin School" which is highly political. But I have to say that the idea is really novel. In the future, it is recommended to shoot directly without going through the costume drama for better effect. But the larger treatment of this film is the ambiguous presentation between political films and emotional films. It belongs to the main theme for a while and Wendini for a while. But to be honest, the emotional appeal of this film is not worse than that of Wendini. On the contrary, the ghost that finally appeared is very interesting again - the protagonist uses the identity of the heroine's dead husband to accompany the heroine, but the heroine after her death comes again. to the coffee shop. The film is very literary, and many contents have two layers of symbolism. The title of "Transit" is an example - everyone crosses the border but cannot cross the state of mind (whether the mixture of politics and love is a good thing, whether it is overpowering or not? discuss again).
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