Wri/Dir: Christian Petzold | Germany, Drama 2025
In his latest psychological drama Christian Petzold once again explores the female experience with his usual acute perception.
Miroirs is a story of two women linked by trauma. One is haunted by the past, the other is struggling with an unsettling present. Early on in the film the unlikely pair find themselves thrown together in unusual circumstances and, on the surface, this seems to be just what they both need. But that plot resolution would be the simple way out, and Petzold is not one for easy solutions dramas. The rather early reveal that follows gives this a less weighty conclusion than his previous outings although Miroirs is nevertheless enjoyable thanks to its nuanced performances, the standout being his current muse Paula Beer, in their fourth collaboration.
Betty (Barbara Auer) is coping with a tragic loss, and music student Laura (Paula Beer) is dealing with an existential crisis due to an unsatisfactory relationship with her musician boyfriend Jakob (Philip Froissant), who seems more interested is his friends and the impression he gives to the outside world than focusing on his partner. This all comes out in an awkward confrontation between the two when Laura gets home late to meet up with another couple Roger (Marcel Heuperman), a producer, and Debbi (Victoire Laly), who are joining them for the weekend. It seems Jacob is out to impress Roger, possibly hoping for a job.
On the drive out of town in Roger’s flashy red sports car Laura seems lost in thought and then claims she feels unwell and wants to go home. Jacob seems more annoyed than sympathetic, Roger lending Jacob his car suggesting he drive Laura to the nearest station, but, as the tone drifts into darker territory, Jakob’s erratic driving causes a collision witnessed by Betty who then takes Laura to her house, to wait for the emergency services to arrive. Laura, who is only mildly injured, then asks if she can stay at Betty’s place to recover. At first the two seem to get along well comforting each other in their time of need. But as details emerge about Betty and her family life it transpires that this woman is not all she seems. @MeredithTaylor
NOW SCREENING AT LONDON FILM FESTIVAL | WORLD PREMIERE CANNES 2025