‘Miroirs No. 3’ Review: Paula Beer in Christian Petzold’s Minor-Key Study of Two Women Looking to Fill Voids in Their Lives

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As a devoted admirer of Christian Petzold’s work, I’ve always found his films to be captivating explorations of the complexities that follow trauma or pain. His newest creation, Miroirs No. 3, delves into the lives of two women who are grappling with their own personal struggles. One is still healing from a devastating loss, while the other finds herself in an unfulfilling relationship that seems to be the source of her malaise, or perhaps something deeper and less tangible.

In a surprising turn of events, these two strangers find themselves sharing an unconventional living arrangement. At first, it appears this setup might aid them in their healing process. However, Petzold, the masterful German writer-director, doesn’t deal in clean, predictable narratives about emotional recovery.

Similar to Petzold’s exceptional Chekhovian drama Afire from 2023, the latest movie is set in a tranquil rural landscape that becomes turbulent due to underlying stresses and unnerving transformations. These are caused by complex relationships and misunderstandings between individuals with contrasting desires.

Or:

In the style of Petzold’s remarkable Chekhovian drama Afire from 2023, this new film takes place in a picturesque countryside that is disrupted by hidden strains and unsettling shifts due to the varying needs and connections among its characters.

Or:

Following the pattern of Petzold’s impressive Chekhovian drama Afire from 2023, the new movie portrays a serene rural backdrop that is disturbed by concealed tensions and unsettling developments, as people with diverse needs interact and sometimes miscommunicate.

Or:

The new film shares the structure of Petzold’s outstanding Chekhovian drama Afire from 2023, unfolding in a pastoral setting that is rocked by subdued conflicts and uneasy changes, as people with differing desires form connections and sometimes misunderstand each other.

In contrast to its predecessor in the director’s portfolio, Miroirs No. 3 appears less complex and impactful due to an early telegraphing of its climactic moment, reducing its shock value. However, Petzold consistently demonstrates a keen eye for delving into his characters’ inner worlds, a skill enhanced in this film by four outstanding performances, with Paula Beer delivering another brilliant portrayal in their fourth joint project together.

In the initial scenes, we encounter Laura, a pianist studying at a music academy in Berlin, perched on an overpass above a flowing river along an autobahn. Her countenance suggests a deep sadness and loneliness, though it’s uncertain if she contemplates suicide.

As I stumble in late, finding Jakob (Philip Froissant) visibly agitated, it’s clear he’s not pleased. When he mentions he’s been trying to reach me, I mumble about my lost bag, but his impatience is palpable as he’s fixated on the friends, Roger (Marcel Heuperman) and Debbi (Victoire Laly), eagerly waiting downstairs, ready to depart for our weekend getaway.

Roger serves as a movie producer, while Jakob, who seems to be in the filmmaking industry though it’s not explicitly stated, faces significant pressure this weekend. As they journey beyond the city limits in Roger’s sleek, convertible sports car, Laura appears disengaged from the conversation. Upon arriving at their destination, she informs Jakob that she’s feeling ill and must return home. Jakob struggles to conceal his fury, but Roger hands him the car keys and suggests he drives Laura to the train station. Instead of expressing worry for her health, all three of them seem more irritated than concerned about her illness.

Previously, during her trip from Berlin, Laura observed a woman painting a fence outside her house front, who reciprocated her glance with a shared sense of worry and intrigue. A comparable incident occurred on the way to the train station when Jakob’s reckless driving came close to causing an accident, nearly hitting the woman. Just seconds after they sped away, the woman heard a collision; she rushed to the spot to discover the car overturned in a field and Jakob, the driver, fatally ejected from it.

Betty (Barbara Auer) brings Laura home until emergency services arrive, as she’s shaken up with some cuts and possibly a concussion. When the medic advises hospitalization, Laura prefers staying at Betty’s for recovery. This older woman, presumably living alone, appears surprised but then leads Laura to her cozy yet deteriorating guest room.

Petzold allows us to form our own opinions as to why, after a significant shock, Laura decides to stay with an unfamiliar person, and why Betty offers her shelter, despite hints at Betty’s motivations becoming clearer. Given what we understand about Laura, it seems plausible that she would be keen to start anew in another life.

Regardless, Beer appears both cautious and open-hearted when dealing with Laura’s adaptation to her new surroundings. Her actions exude such an effortless elegance that it never crosses our minds to doubt her intentions. Betty provides Laura ample room, placing fresh garments for her without disclosing their past owner. As Laura’s sadness gradually subsides and she takes delight in straightforward tasks like assisting Betty in finishing the white picket fence or tending to the garden, her spirits start to improve.

Yet, despite Betty always being a warm and gracious hostess, there’s a strange, understated sense of obsession in her interest towards her guest as portrayed by Auer. Moreover, the disapproving glances from the villagers on the road leave one puzzled. Neither Betty nor Laura seem to provide or seek an explanation for these odd occurrences.

As these two ladies build their friendship, it becomes evident that Betty has experienced some sort of emotional collapse, causing a rift between her husband Richard (Matthius Brandt) and son Max (Enno Trebs, notably excellent in the role of a self-important novelist in Afire). The first time Laura learns about them is when she proposes making potato dumplings, which Betty reveals are Richard and Max’s favorite meal. This prompts her to extend an invitation for dinner.

The appearance of two men alters the atmosphere noticeably. It appears they’re worried that Betty might have stopped taking her medication, as they appear troubled upon spotting an extra place set for dinner. However, it isn’t until Laura emerges from the kitchen with the meal that the reason for this setup is revealed, leaving them looking startled, almost shocked. Their silence seems impolite, but Betty criticizes them after dinner. She requests Max to mend a broken bicycle for Laura and brings in a piano tuner to restore the forgotten instrument in the living room corner.

During their subsequent visit, Richard and Max encounter a moment when Laura performs the radiant Ravel piece, which is the movie’s title. Betty takes great pleasure from it, while the two men show signs of discomfort. Richard eventually grows more accommodating towards Betty’s guest and enjoys being with his wife again after a separation. Max, on the other hand, needs more time, but gradually grows fond of Laura when she starts frequenting his garage. Nevertheless, there’s something about her presence in their home that makes Max feel uncomfortable.

Prior to this moment, the reason behind the family’s sadness, though not every specific detail, will be clear to many viewers. Therefore, it appears unconvincing when Laura is caught off guard, feeling upset and embarrassed. Granted, she has been living in a dream-like state, temporarily halting her life, but it seems unlikely that she would fail to understand the situation given the same hints we receive.

In the capable hands of a less skilled performer and filmmaker, Laura could have been an annoying enigma. However, Beer skillfully reveals Laura’s internal struggles and the confusing crossroads in her future, while still maintaining her air of mystery. Initially, she criticizes herself for not missing the weekend with the producer, which indirectly led to the tragic accident. Later on, she admits to Max that she isn’t mourning Jakob, stating they weren’t even a genuine couple.

The actress manages to infuse a script lacking depth with intricate psychological layers. All four main characters provide substance to what could have been a weak drama, particularly Auer, who stands out. She has previously worked with the director in his first film, “Transit,” and earlier feature, “Yella.” Her intensity doesn’t overshadow Betty’s vulnerability.

In a simple, uncluttered filmmaking approach, utilizing diegetic music and abundant soft, natural light, Petzold’s latest work showcases the clean, elegant style we’ve come to appreciate from him. Although it’s a smaller project for the director, its emotional impact is more subtle than typical, yet it remains just as captivating. Beer delivers a spellbinding performance throughout the film.

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2025-05-17 14:25