‘Amrum’ Review: Diane Kruger in Fatih Akin’s Sentimental Drama Set During the Last Days of Nazi Germany

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In the island of Amrum, director Fatih Akin engages in an emotional dialogue with his mentor, German director Hark Bohm. This production, screened at Cannes Film Festival outside the main competition, is a joint effort between these two cinematic minds: Bohm crafted the script, drawing from his childhood recollections during the final stages of World War II, while Akin directed (and even contributed to the script’s editing). The film is referred to as a “Hark Bohm film by Fatih Akin” in one of its titles.

This note is valuable since it highlights that Amrum deviates from the typical style of a Turkish-German filmmaker. Unlike films like In the Fade, known for its suspenseful elements, or Head-On, characterized by its gritty realism, Amrum shares more similarities with Akin’s 2016 drama Goodbye Berlin, as it centers around the life of a young boy.

Although that movie contained surreal aspects, it had a slightly sharper edge to it. The film “Amrum” falls into the genre of movies that tackle the harsh realities of Nazism through a child’s perspective. It is less sentimental than “The Boy in the Striped Pajamas” but more sincere than “Jojo Rabbit.” Diane Kruger, who has previously worked with the director, returns to star as an anti-fascist farmer on Amrum Island off the German coast. Jasper Ole Billerbeck delivers a powerful performance as the main character, Nanning.

In the scorching summer of 1945, we come across Nanning laboring on a farm owned by Tessa (Kruger), assisted by his companion Hermann (Klan Koppke). As they plow the soil, a horse-drawn carriage halts near them, and a quick exchange between Tessa and the driver discloses that the passengers are Russian-born German refugees, evacuated from Berlin. Worn out by the war, and mindful of the dwindling resources within their close-knit community, Tessa expresses her disgust for the Nazi ideology and yearns for its swift demise.

Unaware of the meaning behind Tessa’s statement, Nanning brings up the topic during dinner with his mother Hille (Laura Tonke) and aunt Ena (Lisa Hagmeister). He inquires about his father returning home soon as the war is nearing its end. Shocked by the question, Hille – a dedicated Nazi supporter – is offended and reports Tessa to the Nazi authorities the next day. As a result, Nanning loses his job and is branded a snitch by his peers. Akin uses this initial event to create tension between Amrum’s long-standing working-class residents and the Nazis who have moved there due to the war.

In the novel “Amrum“, Nanning, a member of the Hitler Youth corps and whose father holds a significant position within the Nazi party, doesn’t contemplate his image in others’ eyes until his mother reports Tessa to the authorities. Despite this, he remains steadfastly loyal to her. The story unfolds when Hille, heavily pregnant with her fourth child, is disheartened by Hitler’s waning power. At her most vulnerable, she casually expresses a desire for white bread, butter, and honey, which Nanning, a compassionate child who yearns to see his mother happy, interprets as a command. He embarks on a journey to procure these scarce items, traveling across the island and encountering various individuals with diverse political beliefs. Along the way, he also gains insights into his family’s personal history and the extent of his parents’ harshness.

Billerbeck’s acting powers Amrum‘s emotional drive. The actor skilfully portrays Nanning’s initial innocence, expressing it through sad eyes that transform into steelier ones as his experiences toughen him to unforgiving truths. He effectively conveys the longing for acceptance in an adolescent and perfectly balances it with the sorrow stemming from discovering that your parents are not as you once believed them to be.

In the film Amrum, Kruger portrays Tessa, a humble potato farmer, serving as a contrast to Hille. Unlike Nanning’s mother, Tessa is not an unquestioning supporter of the Nazis and does not view Hitler as the solution for Germany’s redemption. Instead, she stands firmly with a strong moral compass. Her character offers a unique sense of practical wisdom.

In essence, the film “Amrum” is not an attempt to justify fascism or create a favorable image of Nazis. Instead, it delves into a nation’s self-perception during its darkest hours. The director, Akin, employs a childlike perspective to explore this theme. However, there’s a question about whether the film’s core message about the corrupt heart of the Third Reich gets overshadowed by its stunning, idyllic cinematography (courtesy of Karl Walter Lindenlaub). Akin seems to favor a visually appealing narrative that stirs feelings of nostalgia. In contrast to his previous works like “Head-On,” which are characterized by rapid cuts and chaotic camera movements, “Amrum” features contemplative wide shots that emphasize the grandeur and beauty of the island. Some of the most powerful scenes in the movie focus on how war transforms ordinary items like eggs, flour, and sugar into scarce luxuries.

While Nanning obtains items for his mother, the deterioration of the Nazis’ power becomes increasingly apparent. His mother’s depression deepens, particularly upon hearing about Hitler’s death, causing the young boy to feel an increasing burden to ease her suffering. As he uncovers more about his parents and the island, he grapples with his own moral compass. The struggle of losing faith in one’s role models and creating an identity beyond their ideological framework is a common theme in this story. Despite being a conventional narrative drama, Amrum tackles this question with notable sensitivity.

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2025-05-23 21:06